Andy Warhol (from August 6, 1928 to February 22, 1987), born in Pittsburgh, Pennsylvania, USA, is generally accepted as a leading figure in pop art and one of the most influential artists in the 20th century. In the 1960s, people pursed equality and immediate and tangible happiness, the whole American was bombarded with simple, repetitive, popular social phenomenon brought about by industrial mechanization, that gave Andy Warhol “natural” materials for creation. His works, as the epitome of American mass culture, reflect that prosperous era. Andy Warhol, who inherited the pop art from Britain, was a "spoiler" of the exquisite traditional art and values. His works are the manifesto that the definition of art would no longer be fettered by traditional rules. The phenomena of that period recorded by him and the artistic value carried by his artworks are far-reaching to the present day.

This exhibition can demonstrate the application of multiple media materials by Andy Warhol and put on display 72 works produced by him between 1962 and 1986, ranging from static silk-screen printing, photos to dynamic images. The exhibits include his representative works, such as "Marilyn" series, "Cow" series, "Campbell's Soup" series and "Flowers" series, and comprehensively show the artistic and visual feast under the pop plant of Andy Warhol in terms of time span and type of works.

"Art for All" is the theme of this exhibition and also the artistic spirit of Andy Warhol.

Hsia Yan, born in Xiangxiang, Hunan on July 27 1932, his real name is Xia Zuxiang. He first moved from Nanjing to Taipei caused by war, then he went to Paris and New York alone to pursue his artistic dream. He returned to his home country in later years and currently lives in Shanghai. Yan is one of the founders of Chinese first abstract art group, “Ton-Fan Group”. Making Chinese traditional art more cosmopolitan and seeking the characters and status of traditional art in the world art has become the direction of Yan’s artistic exploration.

"Xuanxie" means lyricism, which is also a homophones for "catharsis" in Chinese. Hsia Yan's art not only contains the freehand concept of Chinese painting, but also carries the free spontaneous spirit of folk art. He's good at portraying "people", seems to be painting the lives of others, yet he actually has been telling his own stories and releasing emotions.

"Xingbian" is the continuous advancement and change throughout life. It also presents the change of Yan's artistic style. He went away at a young age and returned home as an old man, Yan's wandering life created various artistic styles.

Hsia Yan tried to adapt thick and thin lines to depict figures and abstract paintings in early years. In Paris, he mixed thick and thin lines into signature work of "Fuzzy People", in sharp contrast with the ultra-flat background. In New York, he used 1/8 shutter to capture pedestrians, forming erratic silhouettes, created with Photographic Realism. Around 2000, Yan began to create the metal sculpture with light-weight paper and soft lines elements. Moved to Shanghai until now, Yan is calmer and uses the elements of the living environment and the nature to create large-scale landscape paintings with free and casual lines.

This Catharsis | Vicissitude exhibition displays Hsia Yan's paintings and sculptures from 1971 to 2020, covering large-scale landscape series, "Fuzzy People" series and traditional folk myths series. Among them, the large-scale landscape painting, "Landscape 6", which was created in this year. It is the first time to public exhibit.

Richard Lin believes that "White is the sum of all colors." Maybe white is prosaic in our eyes, but Richard Lin has used the exquisite simplicity of white to a different absolute level: The colors of pigments are dense, light, deep, thin, and thick, just like the expression of five color gradations of Chinese ink in Chinese landscape ink painting. That made Miro admired, he said: "Lin is unmatched in the world of white color." Lucio Fontana was inspired to create his famous work "Spatial Concept" after visiting the studio of Lin. Lin was also the first Chinese to be selected to participate in the "Kassel Documenta" in Germany. All of these can prove the international status of Richard Lin.

Richard Lin's character and creative spirit are refined and precise, rigorous and profound. Compared to the expression of bright colors and changeable lines, Richard Lin constantly pursues and explores the absoluteness in art, using western material in "subtraction" time after time to express visual and philosophical connotations rich in oriental meaning.

It has been 25 years since Lin Dingyi was connected with art.

He described his creative process in this way: "This is a kind of both spiritual and ideological extreme. This kind of extreme is needed in art as it is the process of revealing truth of the soul. What is really important to us cannot be seen by eyes only but also requires blessing from the soul."

Lin Dingyi repeatedly sensed, pondered and polished with stainless steel and red copper which seemed solid yet actually soft metal material. He sent a signal to God from his soul - "Yes, I am talking to you." Finally, he created his artwork for this exhibition "Communicating with God".

The three exhibition halls adapt all white or all black as the main tone. We have tried to separate the natural light, hoping to allow each visitor to feel the light of the work in a pure and undisturbed space, and grasp the beam of light in their heart.

He does not have many annotations regarding his work as the real art is to awaken the induction and cognition in every individual's heart. 

Without the restriction caused by much description, visitors can perceive everything and feel more contented. "Communicating with God" does not refer specifically to which God, but the "One"who  talks to his own soul. This is true for Lin Dingyi, as well as for each visitor.

Zhou Yang said: "I am a very casual and relaxed person. Freedom of mind and time are quite important to me, as well as to the creation of art. I think the clouds could relax and heal my mood. At the same time, they make me feel like I was back in my childhood."

Therefore, the clouds painted by Zhou Yang are not tangible, yet a medium to express inner freedom and admiration towards nature and life. In order to create the "cloud" in his heart, Zhou Yang, who was over fifty years of age, jumped out a stable life and went to Paris for further education for four years. After nine years of retreat, Zhou Yang finally achieved to paint the "cloud" in his heart. This piece of "cloud" flew over the Taiwan Strait from Miaoli Sanyi and arrived at the Chang Museum.

Over 30 pieces of Zhou Yang's "Cloud" series have been exhibited in two exhibition halls.

With natural light and 12 metres high ceiling, the exhibition hall on the first floor allows the visitors to be immersed in the large scale "Skylight & Shadows" series, being amazed by the clouds without the oppressiveness. The dark space created by the thirdfloor exhibition hall provides meditation retreats for visitors to relax and achieve the effect of cloud healing.

The great form is without shape - "Skylight & Shadows" of the Clouds series, which was started in 2010 and finally completed ten years later. Zhou Yang regards it as a turning point and innovation in his artistic life.

On June 8 2019, the 53rd anniversary of the death of Sanyu, we "invited" him to the Chang Museum.

The thematic exhibition of "Sanyu · Uncommon" was the first exhibition since the opening of the Chang Museum and the first solo exhibition of Sanyu's "Return to Mainland". This exhibition displayed nearly 40 pieces of Sanyu's collections from various periods and various media. In addition to conveying the emotion of his paintings, the main axis of the exhibition also elaborated the classic stories of his life, as well as the mutual influence and breakthrough on both Chinese and Western culture and art.

Sanyu's most famous artwork is the series of female nudes. Facing the unrestrainedness of women, Sanyu made good use of the simplest and fastest lines, regardless of the details; while expressing the tenderness of women, Sanyu's brushstrokes carries a delicate, gentle and elegant style. The nude lady became the companion of his life. If the female nudes painted in the early years still exudes sensuality, the ones painted in the later years do not contain the lines as fast and smooth as when he was younger but slower and solid, with a sense of stability and calmness.

Sanyu not only painted the female nudes but also painted flowers and animals. These flowers and animals also carrie the femininity of a female body. Even better, Sanyu only adapted pure lines to draw the outlines of these objects. It takes only a few minutes to capture the charm of the object brightly and concisely, such as it is penetrating.

Interpreting Sanyu's paintings is to interpret his emotions. Throughout his entire life, women were his core subject. Although there were many rumors going around, he was still a pious and faithful artist.