Li Jin was born in Tianjin in 1958 and graduated from the Chinese Painting Department of Tianjin Academy of Fine Arts in 1983. During his studies, he began to pay attention to the new trend of art. In the 1980s and 1990s, he went to Tibet several times to create "Tibetan Group Paintings". He also participated in exhibitions such as "Advancing Chinese Youth Art Exhibition" and "'89 Chinese Modern Art Exhibition". He is one of the important artists in the "'85 New Wave Art Movement". Li Jin's modernist attempts in Tibet clearly got rid of the tradition of ink painting. Since the 1990s, Li Jin has started to create series of "Hutong City", "Practicing Exercises", "Animals" and "Diet Men and Women". While the themes of his works are becoming more and more everyday life, he has found a new point of penetration.

This exhibition starts with the "'85 New Wave Art Movement" and traces Li Jin's 30-year creative process. More than 100 works will be presented, and the exhibition documents will be used as a supplement to show the new direction opened up by the important artists in the history of Chinese contemporary art.

The important significance of Li Jin's 30 years of painting exploration is that he perfectly combines ink painting with contemporary secular life, so that both painting and life are brought to life. He therefore affirmed the contemporary nature of ink and the secular nature of life. Considering the despearte state of ink painting, Li Jin's successful exploration in this area is particularly valuable.

For 30 years, Li Jin has been exploring the modern form of ink painting, and his attempts constitute an extremely important and valuable experience in contemporary Chinese ink painting. He is committed to showing humanity and eternalizing this instant happiness. Li Jin's work is a comedy on the surface, there is a sense of sadness lying underneath. Li Jin’s strong fascination with secular life was motivated by the tragic consciousness of death. The theme of "the end of man", which is expressed in two ways here: one is Heidegger’s death of man, another one is the Kojeev-style human consciousness of the end: for the former, visitors will see the tragedy embedded in the comedy and for the latter, visitors will see the other way round.