1989年“23届蒙特卡国际画展”加拿大。

1991年“赵半狄李天元画展”。

1992年“赵半狄新作展”地方 美院画廊。

1993年“中国前卫艺术巡回展”柏林、KUNSTHALLROTTERDAM、古代 艺术博物馆、英国牛津、丹麦的BRANDTSKLAEDEFABRIK，ODENSE、德国HELDESHEIM；“中国上空的红星”纽约；“89年中国新艺术展”，香港，悉尼。

1994年“安装 ：都是月亮惹的祸”北京。

1995年“配置2ERFURT”德国。

1996年“30×30×30cm体积的中国土与德国土的交换”北京、慕尼黑；“安装 行为中国-阿库雷里海军15人工作室”慕尼黑。

1997年“25×25×25cm体积的中国土与英国土的交换”北京、伦敦。

1998年在悉尼出版日句《中国故事2000》。

1999年“爱：中国当代摄影与影象 国际艺术节-TACHI-KAWA99”日本；“平衡经验：将来 生物城市”深圳；“DIVENEZIA48届双年展”；“赵半狄与熊猫”北京地铁海报、悉尼双年展、澳大利亚。

2000年“反面乌托邦+全球交流时代的分歧 性”纽约；“上海双年展”上海艺术博物馆；“赵半狄与熊猫”公益海报、上海淮海路、上海浦东国际机场、意大利米兰公共空间。

2001年“在身体里”纽约ISE基金；“热煲”HUSTNERNESHUS、挪威；“赵半狄与熊猫”澳门。

2002年“愉悦至上”上海。

赵半狄油画作品

 赵半狄，这个已 通过其油画作品在艺术界奠定地位，以后 又“绑架”熊猫作为本身 艺术符号的艺术家，在艺术界享有可与熊猫比拟的名望，在他行使“熊猫人”特权十余年至今，在全社会范围内奉献了1 幕幕“跨界艺术”的奇观，留下了诸多赞叹 、不解、争议，还有愤怒。2013年6月，在如愿将本身 的最新作品——电影《让熊猫飞》送上中国院线以后 ，他正式颁布发表 放弃使用熊猫抽象 及概念，“熊猫飞走了。”他以这样的轻快的解释，为本身 艺术生涯中浓烈的“熊猫时代”画上了句号。这样的决定的确出人预感 ，正如九十年代赵半狄绝然地放弃如日中天的绘画事业，给艺术界留下的挥之不去的诧异。告别他称之为“古典时期”的绘画，穿过疯狂跨界的“熊猫时代”，这位在中国艺术界相当特立独行的艺术家，用本身 的选择对今天的艺术做出了新的诠释，也为本身 的人生打造出奇特的轨迹，我们不禁好奇地发问，赵半狄从哪里来？离开熊猫的他，又会向哪里去？（引自《新京报》2013年7月10号）

 在中国油画界，赵半狄是具有光环的人物，这个光环不仅没有因赵半狄在九十年代放弃绘画而褪色，反而通过人们的不断追思 叠加着美誉度，其罕见的绘画才华在学术价值上得到几乎1 面倒的认可，从另1 方面，其价值表如今 艺术市场上也是如此，在艺术市场全体 下滑的态势下，赵半狄的油画作品却逆潮而上，2012年春拍中，其油画《蝴蝶》拍出了2760万，在2013年6月的匡时春拍上，赵半狄的油画《H.金》又以1332.5万的成交价领衔整场油画专场。

“绘画不仅是本身 表达感受的方式，而且经常是逃离理想 的方式，我的画愈完善 ，我的内心就愈脆弱...我不能再脆弱下去了。”赵半狄回答为什么 放弃绘画时时说了这样的话。这是他放弃绘画给出的具有逻辑的回答，或许 还有别的真实的 缘由 ，或许 他本身 也说不清楚真实的 缘由 ，人是复杂的，赵半狄的复杂性情 或许 是答案之1 。（引自《新京报》2013年7月10号）

 不同于毕加索从立体主义步入蓝色时期，和 后边的粉色时期，1 切转变都是在画布上发生的，赵半狄放弃本身 “古典时期”的绘画后，其新时期完全脱离绘画，以各类奇特方式和媒介，实践着与之前的艺术理念不同的东西。他从关注自我感受扩展为关注社会话题，并跨界利用各类媒介，实现了1 系列内涵多义，挑动社会神经的作品。好评与恶评的纠结，喝彩与愤怒的对决，构成了赵半狄艺术在中国艺术界绝无仅有的景观。

而这1 切，是从他动念头“绑定”公有财产“熊猫”开始的。

赵半狄：“熊猫是中国的国宝，也是中国的符号，作为1 个个体，试着'具有 '这个国家级符号，最后 只是个风趣 儿试验，但当这类 ‘绑定’产生了奇特的化学反映以后 ，我觉得这简直是1 扇熊猫之门，我觉得我有义务给中国社会展示 1 个特别的景观，是隐喻，也是行动，关于公共话题，也关于审美，我能感觉到，这是我逃离脆弱以后 要去的艺术世界。”

从此，头扛熊猫的赵半狄成为艺术界的著名符号。他的熊猫跨界多媒体作品广为人知，并在国际艺坛受到注视 ，包括“威尼斯双年展”等国际最重要的展览都向他发出了约请 。

英国著名艺术刊物《艺术评论》如此评价赵半狄的“熊猫”作品：站在社会主义宣扬 艺术和本钱 主义商业艺术的交叉点上。

2007年11月4日，中国国际时装周的T台上上演了“赵半狄熊猫时装秀”。在这场时装秀中，赵半狄用熊猫符号归纳 了中国社会具有代表性的人物角色，包括了民工、三陪小姐、追星族、乞丐、同性恋、网络红人、法官、三陪小姐、二奶、腐败官员等三十三套时装。 这是1 场中国国际时装周举行十年来最具轰动效应的秀，构成 正反两方面评价。有人喝彩这是淋漓表达了中国社会的秀，有众多评论认为这是将时装恶俗化。

此后2009年3月，这场熊猫时装秀在法国巴黎东京宫上演，将这场秀的争议推向了高潮。“‘卖国辱华’的时装秀！”这是非常广泛的声音。

受这样争议的影响，工商局驳回了“半狄熊猫”商标申请，最高法院同样支持了这1 判决

赵半狄油画作品

 严厉 说，赵半狄为拍这部电影，设立了1 个慈善项目，这1 点，就完全不同于现存的电影创作方式。这部电影拍了整整三年，影片围绕着1 个奇特慈善事件展开了多重解读。故事来自赵半狄三 年来理想 生活中的艺术实践。来自河南、四川、北京、湖北、甘肃、台湾等地的两万多名青少年以熊猫为题，创作出绘画、雕塑、舞蹈、音乐作品，终究 用销售所得的100多万元善款在黄河边上建了1 座孤老院，为60位孤寡老人建了个家。影片不仅表达了中国孩子对创造的追随 和爱心，也在另1 层面表达了中国社会的成绩 。整部电影情势 上包含了剧情、纪录、动画，所有次要 角色都是实名制出言。可以说，这是1 部没法 以现有类型归类的电影。

赵半狄的争议

作为画家的赵半狄是没有争议的，而作为“绑架”国宝熊猫的赵半狄，从1 出场就注定是有争议的，这或许 就是古典和当代的不同。国宝竟成为了1 个人的符号，这让很多人感觉不适。而随着赵半狄连连不断的“利用"熊猫，并以不符常规的方式向社会输送他的熊猫作品的时候，社会的神经被挑逗起来。熊猫时装秀引发了熊猫保护专家的抗议，成都政府有关部门甚至提议“禁止恶搞熊猫法”赵半狄两次发起的抵制好莱坞电影《功夫熊猫》事件，把他推向了言论 的风口浪尖。

赵半狄的国际后援团

很多大型的当代艺术都是作为“项目”，以找到投资人或援助 者的方式得以完成的，赵半狄也是如此，保持 他艺术创作并不断“烧钱”的是画廊、艺术基金会，还有个人。说到个人，不能不提到两个瑞士人，1 个是劳伦斯Lorenz Hebling ，作为著名的香格纳画廊老板，他是赵半狄的艺术项目的一向 支持者，比如登上国际时装周的熊猫时装秀，就是由他慷慨解囊。还有1 个瑞士人，前瑞士驻华大使，著名收藏家乌里·希客Uli Sigg，熊猫奥运会和电影《让熊猫飞》等项目都由他力推。他是赵半狄的艺术在东方 最坚定的支持者。

1999年赵半狄与熊猫应邀参加世界最具权威和影响力的威尼斯国际双年展，并在展览期间为中国艺术博得 广泛声誉；2000年被全球著名、最具影响力的生活年鉴 “ZOOM”评为最具艺术亮点的世界年度人物；2004年英国文明 部与艺术基金会为其举办“BANDI PANDA”展并在英国曼彻斯特、伦敦、伯明翰等地作各式各样的巨幅广告，再度在英伦掀起“赵半狄与熊猫”旋风；2005年赵半狄与熊猫出如今 奥委会总部瑞士首都伯尔尼，耗费巨资创作“BANDI奥运会”。

 Zhao Bandi, a famous artist, is one of the representatives of Chinese avant-garde art and one of the most valuable artists in the contemporary art market. From "classical period" oil painting to "panda era", his diverse media and meaningful art attracted countless applause, but also caused incomprehensible and controversy. This artist, who is very independent in Chinese society, has made a new interpretation of today's art with his talent and choice.

Important Exhibitions

1989 "23rd Monte Carlo International Painting Exhibition" Canada.

1991 "Zhao Bandi Li Tianyuan Painting Exhibition".

1992 "Zhao Bandi's New Works Exhibition" Gallery of Central Academy of Fine Arts.

1993 "China Avant-garde Art Tour Exhibition" Berlin, KUNSTHALLROTTERDAM, Museum of Modern Art, BRANDTSKLAEDEFABRIK, ODENSE, HELDESHEIM, Germany; "Red Star over China" New York; "China New Art Exhibition 89", Hong Kong, Sydney.

1994 "Installation: All the Moon's Troubles" Beijing.

In 1995, "Configuration 2ERFURT" Germany.

In 1996, Beijing and Munich exchanged 30 *30 *30 cm volume of Chinese soil and German soil; Munich, 15 studios of China-Akureri Navy, Installation Behavior.

1997 "Exchange of 25 *25 *25 cm volume of Chinese soil with British soil" Beijing, London.

In 1998, the Japanese sentence "Chinese Story 2000" was published in Sydney.

1999 "Love: China Contemporary Photography and Image International Art Festival - TACHI-KAWA99" Japan; "Balanced Experience: Future Biocity" Shenzhen; "DIVENEZIA 48 Biennial Exhibition"; "Zhao Bandi and Panda" Beijing Subway Poster, Sydney Biennale, Australia.

In 2000, New York City, the "Negative Utopia + Consistency of the Age of Global Exchange", "Shanghai Biennale" Shanghai Art Museum, "Zhao Bandi and Panda" public service posters, Shanghai Huaihai Road, Shanghai Pudong International Airport, and Milan Public Space, Italy.

2001 "In the Body" New York ISE Fund; "Hot Cooker" HUSTNERNESHUS, Norway; "Zhao Bandi and Panda" Macau.

In 2002, "Happiness First" Shanghai.

Zhao Bandi's Unique Art Experience

Zhao Bandi, an artist who has established his position in the art circle through his oil paintings, and later "kidnapped" the panda as his artistic symbol, enjoys a reputation comparable to that of the panda in the art circle. Since he exercised the privilege of "panda man" for more than ten years, he has dedicated scenes of "cross-border art" to the whole society. Wonderful, leaving many admiration, puzzlement, controversy, and anger. In June 2013, after delivering his latest film, Let the Panda Fly, to the Chinese courtyard, he officially renounced the use of panda images and concepts. "The panda flew away." With such a brisk explanation, he drew an end to the strong "Panda Age" in his artistic career. Such a decision is indeed unexpected, just as Zhao Bandi gave up his painting career in the 1990s, leaving a lingering surprise to the art world. Farewell to what he called the "classical period" painting, through the crazy cross-border "panda era", this quite unique artist in the Chinese art circle, with his own choice to make a new interpretation of today's art, but also to create a strange track for his life, we can not help but wonder, Zhao Bandicong Where do you come from? Where will he go if he leaves the panda? (Quoted from Beijing News, July 10, 2013)

Panda Age: Socialized Cross-border Art

Unlike Picasso's transition from cubism to blue and pink, all changes took place on canvas. After Zhao Bandi abandoned his painting in the "classical period", his new period completely broke away from painting and practiced something different from his previous artistic ideas in various strange ways and media. He expanded his concern from self-perception to social topics, and made use of various media across borders to realize a series of works with multiple meanings and stirred up social nerves. The entanglement of praise and criticism, the confrontation of applause and anger constitute the unique landscape of Zhao Bandi's art in Chinese art circles.

And all this started with his idea of "binding" the public property "panda".

Zhao Bandi: "Panda is China's national treasure, but also a symbol of China. As an individual, trying to'own'this national symbol was only an interesting experiment at first. But when this kind of'binding' produced a peculiar chemical reaction, I think it's really a panda's door. I feel obligated to give Chinese society. Showing a special landscape is both metaphor and action. About public topics and aesthetics, I can feel that this is the art world I want to go after escaping from fragility.

Since then, Zhao Bandi, who carries pandas on his head, has become a famous symbol in the art world. His panda cross-border multimedia works are well known and have attracted great attention in international art circles, including the Venice Biennale and other most important international exhibitions.

The famous British art magazine Art Review makes such a comment on Zhao Bandi's Panda: standing at the intersection of Socialist propaganda art and capitalist commercial art.

Panda Fashion Show

On November 4, 2007, "Zhao Bandi Panda Fashion Show" was staged on stage T of China International Fashion Week. In this fashion show, Zhao Bandi used panda symbols to deduce the representative characters of Chinese society, including 33 sets of fashions, such as migrant workers, Miss Three Accompanies, Starchasers, Beggars, Homosexuals, Internet Reds, Judges, Miss Three Accompanies, Second Ladies and Corrupt Officials. This is the most sensational show of China International Fashion Week held in the past ten years, forming both positive and negative evaluations. Some people applaud the show as a vivid expression of Chinese society, and there are many comments that it is a vulgarization of fashion.

Then in March 2009, the panda fashion show was staged at Tokyo Palace in Paris, France, bringing the controversy of the show to a climax. "Treason and Disgrace" Fashion Show! It's a very wide range of voices.

Affected by such disputes, the Industrial and Commercial Bureau rejected the application for the trademark of Bandi Panda, and the Supreme Court also supported the decision.

Let the Panda Fly

Strictly speaking, Zhao Bandi set up a charitable project to make this film, which is totally different from the existing way of film creation. The film has been filmed for three years, and it has multiple interpretations around a peculiar charity event. The story comes from Zhao Bandi's three years of artistic practice in real life. More than 20,000 teenagers from Henan, Sichuan, Beijing, Hubei, Gansu and Taiwan have created paintings, sculptures, dances and music works on pandas. Finally, they have built an orphanage on the edge of the Yellow River and a home for 60 orphans and widows with more than 1 million yuan from sales. The film not only expresses Chinese children's pursuit and love for creation, but also expresses the problems of Chinese society at another level. The whole film includes plot, documentation and animation in form. All the main characters are real-name speakers. It can be said that this is a film that can not be categorized into existing types.

Zhao Bandi's Dispute

As a painter, Zhao Bandi is not controversial. As a "kidnapper" of the national treasure panda, Zhao Bandi is doomed to be controversial from his appearance, which may be the difference between classical and contemporary. National treasure has become a symbol of a person, which makes many people feel uncomfortable. With Zhao Bandi continually "using" pandas and conveying his panda works to the society in an unconventional way, the nerves of the society are provoked. Panda fashion shows have triggered protests from Panda Protection experts. The Chengdu government has even proposed that Zhao Bandi, who initiated two boycotts of the Hollywood film Kung Fu Panda, put him on the cusp of public opinion.

Zhao Bandi's International Support Group

Many large-scale contemporary arts are completed as "projects" to find investors or sponsors. So is Zhao Bandi. It is galleries, art foundations and individuals that maintain his artistic creation and continue to "burn money". Speaking personally, I cannot but mention two Swiss, one is Lawrence Lorenz Hebling, the famous owner of Shangna Gallery. He is a consistent supporter of Zhao Bandi's art projects, such as the Panda Fashion Show on the International Fashion Week, which is funded by his generosity. There is also a Swiss, former Swiss ambassador to China, famous collector Uli Sigg, Panda Olympics and the movie Let Panda Fly. He is the strongest supporter of Zhao Bandi's art in the West.