段建宇

**Note:** The platform’s structured artist-profile database does not currently contain a matched entry for 段建宇, so biographical/factual profile information is unavailable from that source. The following draws on the available auction records and the provided article context.

**Representative works** (from auction records):

- 《他的名字叫红》 / *His Name Is Red* — sold for CNY 3,220,000 in 2022

- 《梅兰竹菊》 / *Plum, Orchid, Bamboo, Chrysanthemum* — sold for CNY 2,300,000 in 2015

- 《山顶》 / *Mountain Top* — sold for CNY 2,070,000 in 2026; also CNY 1,840,000 in 2022

- 《施耐贝尔：庸俗的中国风景1》 / *Schnabel: Vulgar Chinese Landscape No.1* — sold for CNY 1,600,000 in 2021

- 《艺术女神刚刚醒来2》 / *The Art Goddess Just Woke Up No.2* — sold for CNY 1,495,000 in 2019

- 《乡恋 No.3》 / *Nostalgia No.3* — sold for CNY 1,495,000 in 2017

- 《艺术鸡》 / *Art Chicken* — a sculptural series; sets have appeared at auction

- 《早上好 5》 / *Good Morning No.5* — sold for CNY 977,500 in 2016

These works reflect recurring motifs in her practice: Chinese vernacular life, literary allusion, and an ironic dialogue with both contemporary Chinese experience and art-historical narratives.

**Creative style** (based on the article context):

段建宇’s painting operates on the boundary between painterly narrative and narrative painting. Her brushwork and color evoke an almost untouchable edge in consciousness while accurately summoning the texture of contemporary life in China. Her practice investigates ordinary modes of expression and everyday visual styles, often beginning from motifs, situations, and figures drawn from lived experience. Rather than settling into realism or social realism, her images develop into a painterly reality shaped by the collision, confrontation, and adjustment of influences and mental images—a reality as complex as the material world itself. This approach is grounded in a renewed trust in the relationship between painting and lived experience.

The article also notes that the local flavor in her work is carefully refined and handled with humor, producing paintings that are highly literary and engaging. Recurring subjects include ordinary people, rural figures, delivery workers, and invented or media-derived characters, often marked by an absurdist, ironic, or quietly alienated tone. Critics have linked this quality to a sense of waiting, banality, and existential absurdity in everyday life.

The structured artist archive does not contain a matching profile for 段建宇, so I cannot confirm a complete exhibition history or institutional collections from the authoritative database. However, based on the provided article context, her recent exhibitions include:

**Recent solo exhibitions:**

- “Automatic Writing–Automatic Reading,” Pond Society, Shanghai (2020)

- Duan Jianyu solo exhibition, Art Basel Basel 2019, Basel (2019)

- “Kill, Kill, Shamate,” Mirrored Gardens, Guangzhou (2016)

- “Tihu: Duan Jianyu & Hu Xiaoyuan,” Rockbund Art Museum, Shanghai (2013)

**Selected group exhibitions:**

- “One Hand Clapping,” Solomon R. Guggenheim Museum, New York, USA (2018)

- “8th Asia Pacific Triennial,” Queensland Art Gallery / Gallery of Modern Art, Brisbane (2015)

- “CCAA15: 15 Years of Chinese Contemporary Art,” Power Station of Art, Shanghai (2014)

- “Farewell to Post-Colonialism,” 3rd Guangzhou Triennial, Guangdong Museum of Art, Guangzhou (2008)

- “China Welcomes You – Desires, Struggles, New Identities,” Kunsthaus Graz, Graz (2007)

- “2nd Guangzhou Triennial,” Guangdong Museum of Art, Guangzhou (2005)

- “Guangdong Express,” 50th Venice Biennale, Venice (2003)

- “Pause,” 4th Gwangju Biennale, Gwangju (2002)

The provided materials do not list specific institutional collections of her work.