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MadeIn Gallery MadeIn Gallery was established in 2014 in Shanghai by MadeIn Company.

MadeIn Gallery is dedicated to the promotion of talented international artists, holding high quality art events and exhibitions, with an accent on contemporary culture development and communication. MadeIn Company, founded by Xu Zhen in 2009, is a contemporary art creation corporate, focused on the production of creativity, and devoted to the research of contemporary culture’s infinite possibilities (more on www.madeincompany.com).

10/04/2025

Now on view in “Payne Zhu: Sounding the Deep Water” at Aranya Art Center

Two performers with similar appearances play the roles of commodities and their derivatives in the video. One night, they reunite at a port, lamenting their drifting fate, while the “derivative” speaks of its desire to go to Switzerland for euthanasia. Interwoven with images of waterway networks, these characters suggest how financial derivatives, created by capital to sustain market prosperity, are often ruthlessly discarded—yet, do derivatives have the right to choose their own fate?

The space in which this work is presented is derived from the artist’s project showcased at the 14th Shanghai Biennale. Similarly, the sound incorporates samples of human voices, dialectal music, ocean sounds, and whale calls, processed through AI training and repeatedly edited by the artist to become the “derivative” of sound.

Pictured: Exhibition view, Payne Zhu, “Promises from the Futures (2025 Derivative Edition)”, 2025, Two-channel video (color, sound), 11’11”

Commissioned by the Soil Collection for the exhibition “The Show Must Go On” in 2024 at Simple One, curated by Leo Li Chen
2025 Derivative Edition supported by Aranya Art Center

Image Courtesy of Sun Shi and Aranya Art Center

08/04/2025

MadeIn Gallery is honored to announce that “Hepingli Playthrough” by Zheng Yuan was selected in the International Film Festival Rotterdam 2025. (Tiger Short Competition Programme 2025)

“Hepingli Playthrough” presents a fictional world inspired by the recent past and distant future. The video draws aesthetics from text-based adventure games that were popular in the 1990s. The “play-through” structure invites potential interaction between viewers and the narrator, linking seemingly separate moments to explore remaining choices and what can be relinquished through a built-in SAVE/LOAD system. This feature makes visible the process of time travel, remembrance, and amnesia, reflecting the journey from crisis to the mundane, observation to engagement, and a dystopian reality to the possibility of renewal.

“In this simulated playthrough of a non-existent video game in the style of (and with original material from) 90s text adventures, an internal monologue reflects on the surroundings and state of the world.”

– Loes van Keulen

Pictured: Video Still, Zheng Yuan, “Hepingli Playthrough” ,2021-2024, Single-channel HD video installation, color, sound, 35’39”

07/04/2025

Cat whiskers, Fish Scales, Squid Skin, bergamot….
Four exquisite dishes created by Payne Zhu are now on view at Aranya Art Center

Featured in Payne Zhu’s solo exhibition, “Sounding the Deep Water”

P1-P2: Payne Zhu, “Kailuan Coal in the Ripples of the Lotus”, 2025 Carbonized lotus leaf, white and purple cowrie, and cat whiskers. (with detail)
Commissioned by Aranya Art Center
P3-P4:Payne Zhu ,”Floating Secretions (From a S***m Whale)”, 2025, Tripod porcelain vessel, squid skin membrane, cuttlebone powder, bergamot, frankincense, carbon powder, and clay. (with detail)
Commission by Aranya Art Center P5-P6:Payne Zhu, “Gladius Bamboo by Falling Scales and the Abyss of Krill”, 2025, Squid gladius, Guanyin bamboo, redlip croaker fish scales, krill tails, krill leg bristles, Song dynasty celadon crackled lotus petal bowl (replica), and brass double-dragon brush rest. (with detail)
Commissioned by Aranya Art Center
 
Image Courtesy of Sun Shi and Aranya Art Center

03/04/2025

“Payne Zhu: Sounding the Deep Water” is now on view at Aranya Art Center

The artist pieces together algae-derived leather to form a sail and uses carbon powder, fish oil, and shrimp oil mixed with oil paint to depict the entangled moment of a whale devouring squid, octopus, and krill. Once again, the work brings the focus back to the whale—while referencing it as a source of trade commodities such as energy and fragrance, the Atrium’s orifice-like passageway prompts us to consider how the whale functions as a natural “biological pump” in carbon circulation through its vertical migration. Today, carbon trading and other capital-driven mechanisms attempt to create “eco-financial derivatives” of the whale, transforming environmental value into speculative opportunities, such as the commodification of corporate carbon emission quotas. The capsizing sail in the work appears to signal a pessimistic vision of the future shaped by ecological financialization.

Pictured, Exhibition View, Payne Zhu, Whale-Derived Pump, 2025, Aranya Art Center, Qinhuangdao; Photo by Sun Shi, courtesy of Aranya Art Center

02/04/2025

“Cheng Ying: The Fourth Wall” is now on view at MadeIn Gallery.

The iconic geometric shapes in Chen Ying’s works serve as a framework that can accommodate various narratives. The artist observes that the sense of order in urban environments, industrial design, and UI design permeates people‘s daily lives. Sometimes, they feel more authentic than daily incidents in people’s lives or spoken words. For the artist, the framework often feels more real than the content.

28/03/2025

Now on view at our booth(1B37) at Art Basel Hong Kong

Song Ling‘s art transforms our perspective on familiar objects, whether by dissolving and alienating cold surgical tools or by merging cut surfaces of fruits and vegetables with anatomical structures during the pandemic. These works reflect the artist’s ability to assign new forms of existence to objects, prompting a reflection on the old order of life. His recent “Pictographic Characters ” series evolves from the themes of “Fabricated” and “Make Ado about Nothing.” Within this series, Song Ling examines the concept of alienation that has long captured his attention— from human alienation to the alienation of objects, and even to biological mutation. He creates seemingly nonsensical combinations of small tools used in everyday life with animal skulls and bones, resulting in the reification of once-living beings. The skeletal remains also relate back to Song Ling‘s earlier “Wildlife” series, exploring the timeless themes of ecological environments and death.

P1: Song Ling, “Pictographic Characters No.3”, 2025, Ink on paper, 85 x 55 cm
P2:Song Ling, “Pictographic Characters No.2”, 2025, Ink on paper, 85 x 55 cm

26/03/2025

Day 1 of Art Basel Hong Kong 2025
See y’all at Booth 1B37！

25/03/2025

To be featured at our booth (1B37) at Art Basel Hong Kong 2025

Fu Site (b.1984) seeks to expand the inclusivity of painting language while focusing on the relationship between virtual images, associations, emotions, and visual experiences. Through the depiction of fragmented visual elements, he blends or juxtaposes these in his work, simultaneously projecting calmness and chaos.
Recently, Fu has dedicated himself to the creation and research of the ”Two Figures“ series. The forms, composed of organic shapes, can evoke human figures, sculptures, or even cartoon-like images, representing a quasi-human ”existence“ for him. The ”Two Figures“ concept involves a dialogue that does not convey a fixed narrative but aims to capture a sense of humor and the ambiguous interactions between the two ”figures.“
In this period of creation, Fu focuses on exploring a pure ”image“ that is neither entirely figurative nor abstract—one that can trigger endless evolution in the viewer’s imagination. He aims to maneuver between image, the essence of painting, content correlation, and pure form without being overly reliant on any single element.

Pictured, Fu Site “Two Figures 2412”, 2024, Oil on canvas, 150 x 120 cm

24/03/2025

To be featured at our booth (1B37) at Art Basel Hong Kong 2025

By drawing inspiration from traditional landscape painting techniques, Shao Fengtian (b.1994) sketches the ever-evolving “nature” that emerges from his collaboration with artificial intelligence. Real images are sent into massive AI factories, undergoing a transformation that diminishes their original meaning. He then integrates and reconfigures these images, creating landscapes that serve as new signifiers.

In this digital age, viewers and creators alike grapple with the challenge of understanding our world. Shao navigates this contemporary dilemma, forging connections between artistic expression and cognitive experience. Join us in exploring his innovative journey!

Pictured: Shao Fengtian, “TENC241017”, 2024, Oil on canvas, 200 x 180cm

21/03/2025

“Chen Ying: The Fourth Wall”, is now open at MadeIn gallery.

Join us as we embrace a season of rebirth, welcoming the pleasant and cheerful spring in Shanghai.

20/03/2025

To be featured at our booth at Art Basel Hong Kong 2025

Repeatedly and accurately, Cai Jian depicts an enlarged camera lens. The artist does not appear as obsessed with reproduction but attempts to offer a meditative value beneath the imagery. The dark grey concentric circles imply metaphysical spiritual traction; their true-to-life coated surfaces direct the viewer to various abstractions of shape and color. They are an inverted reflection of reality, wherein exists another time, another place, along with the artist himself.

P1-3: Cai Jian, “Hyperfocus 1800201”, 2022, Acrylic on canvas, d. 180 cm （with details)

19/03/2025

To be featured at our booth at Art Basel Hong Kong 2025

In the latest “Variations” series, Wang Jianwei places the concept of variating into a broader context. Here, every object we usually identify with certainty becomes a wave cluster—a concept that extends to an electric scooter, a can of paint, or a wooden board. These objects challenge the limits of our knowledge, yet despite this, we cannot fully comprehend them through various means of knowledge and techniques.

”Variations“ explores the ambiguity of deeper time and the world.

On the canvas, recognizable mountains, horizons, and vividly colored skies, along with organisms that appear to be somewhere between plant and animal forms, seem to belong to ancient times or an uncertain future, encompassing time scales that transcend human life. In reality, Wang Jianwei is sketching a spatiotemporal landscape that surpasses all human activities and understanding.

Pictured, Wang Jianwei, Variations No.11, 2023, Oil on canvas, 250 x 173 cm

Address

No. 1,/1F Sunken Garden, Lane 9, Qufu Road, Jing’an District
Shanghai
200085

Website

http://www.madeingallery.com/

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