W idely acclaimed as one of the most distinctive painters of her generation, Cai Jin first attracted critical attention in the early 1990s with her paintings of meirenjiao (translated as “Banana Plant”). Inspired by a dying plant that she saw in her native Anhui province in 1990, she has painted close to 400 variations on this theme between 1991 and the present day, not only in oil on canvas but also on other materials and objects, including mattresses, bathtubs,shoes, and bicycle saddles.

For her first exhibition at the gallery, Return to the Source, in 2013 Cai Jin moved away from her signature theme and the predominant red tonality of her paintings to a lighter, more joyful evocation of what she loosely referred to as “landscapes”even although her visual language was entirely abstract. Her paintings of this period were lighthearted in feeling, equivalent to the emergence of Rococo from the Baroque in European art.

Exhibition Date:

March 10–April 15, 2018 Venue:

CDKN3抑制细胞凋亡机制因肿瘤类型不同而不同。在乳腺癌细胞系中，通过影响Bcl-2与Bax表达抑制细胞凋亡[16]，在肝癌Huh-7细胞中，则通过影响凋亡相关活性蛋白PTEN、GSK、p44/42和AKT表达，抑制细胞凋亡[28]。此外，CDKN3促进肿瘤侵袭迁移的作用与侵袭相关蛋白MMP-2和MMP-9表达水平相关[18]。

2.2 虾稻鳜综合种养产出情况 虾稻鳜综合种养模式中，水产动物的产值较高，其中虾产值占总产值的47.4%，鳜鱼产值占总产值的39.0%，共占总产值的86.4%；水稻产值仅占总产值的11.0%(表3)。

Arcadia differs in all respects from this festive interlude in which Cai Jin celebrated the expansiveness of her vision in a series of canvases both large and small. It is no longer merely the growth and decay of the meirenjiao that provides the subject matter of her painting; she has now begun to incorporate imagery representing the microscopic bacteria that are involved in both processes of the Banana plant’s biological transformation. It is not easy to say whether the bacteria are harmful or beneficial, and it is this ambiguity that is just as likely to cause a frisson of pleasure as it is of fear. Turning away from rectangular canvases, she ordered 120 bicycle saddles and 300 high-heel shoes on which to paint, not the first time she has used them but certainly never in such

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quantity. Responding to the layout of the gallery, she has orchestrated a dialog between shoes and saddles in the East Gallery, saddles climbing the wall in a random pattern and shoes scattered across the floor as if all their wearers have evaporated into thin air.

最后，我们建议，一切与员工个人化相关的事情尽量回避，顾客体验感是顾客能感觉到的由餐厅释放的任何信号，不要片面的认为把产品、服务高标准严格了就能万事大吉，员工状态很大一部分决定了你的餐厅品牌寿命！你们餐厅是如何解决这个问题的？

Contrasting with the East Gallery the darkened West Gallery houses three bathtubs on to which are projected images of meirenjiao and bacteria. In the small gallery a lava-like flow of pink matter appears to be inundating the space, halffilling a damaged basin while a mattress,a pair of Mary Janes, and a knitted hood float forlornly on the surface.

Now more than ever it is not possible to give a rational explanation of Cai Jin’s idiosyncratic artistic practice. The fact that she has always resisted offering explanations adds to the mysterious allure of her work that affects viewers at a visceral level. The immersive environments that Cai Jin has created in Arcadia may be seen as a way of eliciting an even more direct response from her audience, no longer viewers but participants.