王春辰 著名策展人、批评家，中央美术学院教授、博士生导师；曾任中央美院美术馆副馆长，现为中央美院美术馆当代艺术研究中心主任；兼任山西省当代美术馆馆长；从事现代美术史及当代艺术理论与批评研究。
2012年美国密执根州立大学布罗德美术馆特约策展人；2013年第55届威尼斯国际艺术双年展中国馆策展人；英国学刊Journal of Contemporary Chinese Art《当代中国艺术杂志》副主编(2014-2019)及德国斯普林格出版社《中国当代艺术丛书》主编；2015年英国泰特美术馆访问研究员。澳大利亚新南威尔士大学客座教授；西安美院博士生导师；四川美院、天津美院、首师大特聘教授。
出版《1940年以来的艺术》、《艺术的终结之后》、《美的滥用》、《1985年以来的当代艺术理论》、《艺术史的语言》、《艺术简史》、《艺术史》（玛丽莲，2023，中信出版社））、《1945年以来的当代艺术指南》（2023，湖北美术出版社）等译著；2009年获得“中国当代艺术批评奖（CCAA）”并出版《艺术介入社会》。2013年出版《艺术的民主》、《图像的政治》、《艺术是一个问题》批评文集。
策划国内外重要艺术展览数百场：“透视：中国当代艺术展”（2008）、“超自然：中国新世纪摄影展”（2008）、“迷局：中国影像五人展”（2008）、“同行——2009德中当代艺术展”（2009）、“现实的游牧”（2010）、CAFAM双年展（2011）、“创异的喜悦——中国70后艺术展”（2012）、“亚现象：中国青年艺术生态报告展”（2012）、“观念维新——中国当代摄影简史”（2012）、“深圳首届独立动画双年展——心灵世界：作为虚拟工程的艺术”（2012）、“变位——中国艺术方式的威尼斯显现”（2013）、未来的回归：来自中国的当代艺术（2014）、内燃—— 中国新一代女性艺术家（2016）、时间测试—— 国际录像艺术研究观摩展（2017）、约会—来自中法的青年艺术展（2017）、云雀在天上—— 当代青年艺术十一人展（2017）、墨攻—— 首届武汉水墨双年展“合：融汇与变通”（2017）、大地之维—— 用艺术书写当代（2018）、兴起：中国当代艺术中的女性声音（2018）、马克·奎恩—— 皮相之下（2019）、 “姬子：精神之旅“个展（2019）、“安尼施·卡普尔”在中国首次个展（2019）、“墨与物：第二届武汉水墨双年展”（2019）、历史的凝视：再访当代中国艺术（2019）、在思想中——中国当代艺术的思想史与方法论（2020）、“超融体——2021成都双年展”（2021-2022）、“坐标：2000年以来的中国绘画”（2023）、“加密艺术：一种新的可能性”（2023）、“摄影小史：菲利普斯捐赠图书文献展”（2023）、“绘画的提问”五人展（2024）、“人智时代：第三届济南国际艺术双年展”等。
Professor Wang Chunchen is a famous curator and critic, he was Deputy Directory and the Chief Curator the CAFA Art Museum at the Central Academy of Fine Arts in Beijing, China, and now director of The Research Center for Contemporary Art of CAFAM; also director of Shanxi Contemporary Art Museum. Visiting Professor of University of New South Wales. Also specially-appointed professor by Sichuan Academy of Fine Arts, Tianjin Academy of Fine Arts, and Beijing Normal University. Also Supervisor of PhD candidates of Xi’an Academy of Fine Arts.
In 2012 he was an adjunct curator at the Broad Museum of Art, Michigan State University, USA. In 2013, he was appointed as the Curator of the Chinese Pavilion at the 55th edition of the Venice Biennale. Wang is also a Deputy Principal Editor of the UK-based Journal of Contemporary Chinese Art and Editor-in-Chief of The Chinese Contemporary Art Series published by Springer-Verlag, Germany. Wang has been invited to travel all over the world to participate in symposia and forums and to give lectures. In 2015, he was invited by Tate Research Center: Asia to be a Visiting Fellow.
Wang Chunchen has also greatly influenced Chinese contemporary art criticism with his translations of over ten books of art history and theory, such as After the End of Art (Arthur C. Danto), The Abuse of Beauty (Arthur C. Danto), Art Since 1940 (Jonathan Fineberg), The Language of Art History, Theory in Contemporary Art Since 1985, etc. In 2009, he was honored with the coveted Chinese Contemporary Art Awards – Critic Award, one of many awards he has received for his input in art criticism. This particular award led to the writing and publication of Wang’s book Art Intervenes in Society—A New Artistic Relationship. In 2013, Wang published his two volumes of essays, The Democracy of Art and The Politics of Images. In 2024, Essays at Longmen Studio: Art is A Problem
Besides this exhibition, other notable shows that Wang has curatedor been involved in organizing include：
Questioning on Painting: Five Artists, CAFAM, Beijing, 2024
The Age of Human Wisdom: the Third Jinan International Art Biennale,2024
A Brief History of Photography: Documentary Exhibition of Books Donated by Christopher Phillips, CAFAM, Beijing, 2023
Crypto Art: A New Possibility of Art, 2023, CAFAM, Beijing
Coordinate: New Paintings in China since 2000, Shanxi Contemporary Art Museum, 2023
Miro: The Poetics of Garden, Shanxi Contemporary Art Museum, Taiyuan, 2022
Super Fusion - 2021 Chengdu Biennale，Chengdu，China，in which British artists are invited；
IN THINKING——the Intellectual History and Methodologies of Chinese Contemporary Art, 2020, GuangDong Museum of Art, Guangdong, China；
The Gaze of History - Contemporary Chinese Art Re-visited, 2019, Jupiter Museum of arts, ShenZhen, China；
Ink and Things—The second biennial exhibition of WuHan Ink Art, 2019, WuHan Art Mu-seum, WuHan, China；
Anish Kapoor, 2019, CAFA art museum,Beijing, China；
Jizi-The Journey of Spirit, 2019, Shijiazhuang Art Museum, Shijiazhuang, China;
Mac Quinn：Under the Skin，2019， CAFA art museum，Beijing， China;
Now: Dialogue on Female Chinese Contemporary Artists, 2018, Centre for Chinese Contemporary Art (Manchester) , Middlesbrough Institute of Modern Art (Middlesbrough); Nottingham Contemporary (Nottingham) and Turner Contemporary (Margate), HOME (Manchester), UK;
The Dimensions of Land: Writing Contemporary with Art, 2018, Lushan Art Museum, Loudi, China;
Lark in Sky: Eleven Young Contemporary Artists, 2017,
Duishan Art Museum, Xiamen, China;
Pursuit by Ink: The First Wuhan Ink Art Biennale, 2017, Wuhan Art Museum, Wuhan, China;
Screen Test: Chinese Video Art Since the 1980s, 2017, CAFA Art Museum, Beijing；
Fendez-Vous：Young French & Chinese Art, 2017, CAFA Art Museum, Beijing;
Fire Within：A New Generation of Chinese Young Women Artists, 2016, Art Museum at MSU, Michigan, USA;
The 2nd CAFAM·Future Exhibition—Observer-Creator: The Reality Representation of Chinese Young Art, 2015, CAFA Art Museum, Beijing
Future Returns: Contemporary Art from China, 2014, Broad Art Museum at MSU, Michigan, USA;
Transfiguration: The Presence of Chinese Artistic Methods in Venice, 2013, Chinese Pavilion at the 55th Venice Biennale, Italy;
Conceptual Renewal: A Brief History of Chinese Contemporary Photography, 2012, Si Shang Art Museum, Beijing
The First Shenzhen Independent Animation Biennale, 2012, OCT-LOFT, Shenzhen, China;
The 1st CAFAM·FutureExhibition—Sub-Phenomena: A Report of the State of Chinese Young Art, 2012, CAFA Art Museum, Beijing
CAFAM Biennale: Super-Organism, 2011, CAFA Art Museum, Beijing, China;
Mixed Maze, 2008, Red Mansion Foundation, London, UK;
Supernatural—China’s Photography in the New Century, 2008, ArtGate Gallery, New York, New York, USA.
