1977年生于中国哈尔滨，2002年毕业于中央美术学院视觉传达系，目前生活并工作于北京。
胡晓媛的创作常从具体的经验中抽离，以思辨和隐含的冲突性为基点，再将饱含着具体经验印迹的细微体察付诸在对物质、材料、媒介的敏感驾驭上，这种敏感既源⾃她对于⽇常事物的微末体验，也源于她对于意义和概念等抽象议题的哲学化思考，在这相悖且相互博弈的两点间，她总以近乎偏执的微妙权衡，去试图寻求⼀种不易察觉的、非恒定的存在本质，同时她也从其中建构出⼀种⼗分独特的感统美学，并借由装置、录像、雕塑和绘画等多种媒介的丰富表达去结合艺术家内在的意识、知识和叙述，进⽽讨论时间空间、真实、迁徙与穿⾏、隐性平衡等等关乎存在的抽离化议题。
胡晓媛的重要个展包括：上海⻄岸美术馆《沙径》（2022，⻄岸美术馆与蓬⽪杜艺术中⼼合作五年展陈项⽬）、上海外滩美术馆《醍醐》（2012）等；重要群展包括：《“⽬：中国境象”展现中国当代艺术新世代》（2024，巴黎，蓬⽪杜中⼼）、M+新馆开幕⾸展——希克收藏展（2021，香港，M+）、《巨变》（2020，曼海姆，曼海姆美术馆）、《物之魅⼒—当代中国材质艺术》（2019，洛杉矶，LACMA美术馆）、第九届台北双年展（2014）、第⼆届纽约新美术馆三年展（2012）、第⼗⼆届卡塞尔⽂献展（2007）等。她亦曾参加法国巴黎东京宫、斯德哥尔摩Bonniers Konsthall、奥地利Kunsthaus Graz美术馆、美国坦帕艺术博物馆、美国圣彼得斯堡美术馆、美国加州橘郡美术馆、巴塞罗那胡安·⽶罗基⾦会美术馆、瑞典Bildmuseet美术馆、荷兰波伊曼斯范伯宁恩美术馆、英国曼彻斯特华⼈当代艺术中⼼、上海当代艺术博物馆、上海外滩美术馆、北京尤伦斯当代艺术中⼼、北京红砖美术馆、⽊⽊美术馆等多处举办的群展。她的作品亦被法国蓬⽪杜艺术中⼼、香港M+美术馆、上海外滩美术馆、德国曼海姆美术馆、洛杉矶哈默美术馆、上海当代艺术博物馆、上海复星艺术基⾦会、上海油罐艺术中⼼、北京泰康收藏、南京⾦鹰美术馆、法国DSL基⾦会、香港K11艺术基⾦、香港德英基⾦会、上海经纬艺术基⾦会等美术馆或机构。2018年Flash Art出版了胡晓媛的英⽂专著《States of Tension》，其中尼古拉斯·伯瑞奥徳（Nicolas Bourriaud）为专著撰写了⻓⽂。2019年，胡晓媛被香港M＋博物馆提名⾸届“希克奖”。
Born in Harbin, China in 1977, graduated from the Visual Communication Department of the Central Academy of Fine Arts in 2002, and currently lives and works in Beijing.
Hu Xiaoyuan's practice is rooted in discursive and implicit ambivalence, and attaches the embodied experience of life to her sensitive employment of materials and media, through the process of which she attempts to detach herself from material reality. Yet her sensitivity stems from the very nuanced observation of everyday things, as well as her philosophical reflection on issues of meaning and concepts. Almost in a paranoid manner, she seeks the balance between the two often paradoxical yet dialectic ends and tries to explore an imperceptible and volatile essence, which builds up to her unique synesthetic aesthetics. Through the rich expression of various media such as installation, video, sculpture, and painting, her work interlaces consciousness, knowledge, and narration, and discusses the conceptual notions of time and space, authenticity, migration and travel, and implicit balance, which are all related to the idea of existence.
Hu’s work has been widely shown in the international art scenes. Her important shows include solo/duo projects like Hu Xiaoyuan: Paths in the Sand, Centre Pompidou x West Bund Museum project, Shanghai (2022); A Potent Force: Duan Jianyu and Hu Xiaoyuan, Rockbund Art Museum, Shanghai (2013), etc, and group exhibitions such as⽬China: A new generation of artists, Centre Pompidou, Paris (2024), M+ Sigg Collection: From Revolution to Globalisation, M+, Hong Kong (2021), UP HEAVAL, Kunsthalle Mannheim, Mannheim (2020), The Allure of Matter: Material Art from China, LACMA, Los Angeles (2019), The Great Triennial (2012), Documenta12 (2007), etc. Her work has also been showcased at Palais de Tokyo (Paris)、Bonniers Konsthall (Stockholm), Kunsthaus Graz Museum (Austria), Tampa Museum of Art (Tampa), Museum of Fine Arts (St.Petersburg),Orange County Museum of Art (CA), Fundació Joan Miró (Barcelona), Bildmuseet of Bildmuseet Umeå University (Umeå), Museum Boijmans Van Beuningen (Rotterdam),Centre for Chinese Contemporary Art (Manchester), Power Station of Art (Shanghai), Rockbund Art Museum (Shanghai), Ullens Center for Contemporary Art (Beijing), Red Brick Art Museum (Beijing), M Woods Museum (Beijing) and so onHer works have been collected by Centre Pompidou (Paris), M+ Museum (Hong Kong), Rockbund Art Museum (Shanghai), Kunsthalle Mannheim (Mannheim), Hammer Museum (CA), Power Station of Art (Shanghai), Fosun Foundation (Shanghai), Tank Shanghai (Shanghai), Taikang Art Collection (Beijing), G Museum (Nanjing), DSL Collection (France), K11 Collection (Hong Kong), De Ying Foundation (Hong Kong), Longlati Foundation (Shanghai), etc. In 2018, Flash Art published a monograph on Hu, States of tension, for which Nicolas Bourriaud contributed his essay. In 2019, she was nominated for the first Sigg Prize by M+, Hong Kong.
