Wang Zhibo 桬⛓⽈ INTRODUCTION

Tropical sceneries finely coated by a delicate layer of dewy snow; glass cabinets housing an array of Several of Wang’s works, however, seem to contrarily hint at human presence; upon closer inspection anthropological items; the blurred vision of a seated mother and child; each are running explorations in though, one notes that each painting is crucially devoid of humanity or expression. ‘Mother and Son’ Wang Zhibo’s (b. 1981, China) practice that surveys the absurd spectrum of what is real - geographically, (2015), for example, presents a classically religious composition. Yet, the setting is distinctly tribal with historically, ethnographically, architecturally. A graduate from the China Academy of Art Oil Painting various skulls scattered upon the floor and both figures being adorned by bead-like wooden jewellry. Department, Wang creates oil on canvas paintings that confound our notions of time and space. More importantly, whilst the mother’s face is delineated, the child’s is unnervingly blurred to the extent Transcending traditionalism through the subject matter depicted, which is both curious and challenging, of resembling defacement. Such vigorous anonymity heightens our consciousness of how much is read Wang channels her painting to represent the variances of our visual experiences, similar to the reflection through facial features, expressions, the very characteristics that distinguish each and every one of us. on the surface of water: capable of capturing the multiple manifolds of a subject. This recognition is heightened by Wang’s recent series ‘The Archives’, which depicts, from a focused as Whilst always retaining a focus on our concepts of the real, Wang’s work has seen a sequence of periodic well as wide-angle view, museum glass cabinets housing an array of anthropological heads. Emphasising evolution. Wang’s ‘Standing Wave’ series from 2012, for example, exemplifies a particular interest in her reflection in a 2013 interview, “I think I am correct in saying that one of my working methods is architecture and draws viewers into distinctly enigmatic and isolated spaces. Seemingly realistic yet similar to that of an anthropologist”, the works were inspired by visiting many museums during her travels illusory, Wang depicts settings that combine natural elements such as running water, a towering tree or across the US, Europe and China. A reflection on our understanding, and how much is defined by our a rock, with man-made constructions ranging from a cemented path to an ornate fountain. Purposely interaction with humans, the works simultaneously challenge our understanding of the ‘museum’ as a non geographically-specific, Wang’s paintings could be reflecting a hotel in Hangzhou or a rural outlet in place of storage and exhibition, extending it to a zone of interaction and mutual observation. the US; an aura of displacement that lends each work an eery and engaging force. Moreover, whilst the viewer senses the presence and tracks of man, he is pointedly nowhere to be found. The viewer is thus Developing upon this concept of observation and display are her series of still life paintings, such as ‘Hocus confounded as to the status of the space: abandoned, imagined, transplanted or discovered. Pocus’ (2015) and ‘Mead’s Dilemma’ (2015), which present an array of flora, individually positioned on vertical stands. Again challenging our notions of geography as well as perception, one finds an enlarged This running ambiguity regards time and space laced with isolation permeates Wang’s further series’. chestnut adjacent to an equally-sized banana, or plastic-wrapped fig next to a heavily protected cabbage. ‘Tristes Tropiques’, for example, which focuses on leafy tropical landscapes, absurdly presents each Recognisable items, their placement and display takes on a bodily association: hanging, balancing, piled, setting coated by a fine layer of misty snow. Probing our geographical understanding, the works equally positioned. Ultimately, these works summarise the cornerstones of Wang’s practice, which achieves, allude to shifing climates, and the impending possibility of the previously implausible. Devoid of human through the subtle consideration and rendition of the ordinary, to flesh out the limits of our understanding presence, our personal culpability is hinted at without being explicitly spelt out. ‘Time Traveler’ (2015) and extend, through time and space, our conceptual and visual boundaries. furthermore testifies to visual transportation, whether into the future or the past, or even seemingly across dimensions. Dewy and nearly spectacular, the painterly finish hints to illusions, a magical environs, Wang Zhibo is a highly regarded female Chinese painter who rose to prominence afer being awarded the a sentiment that is heightened by the rising mist. prestigious national Luo Zhongli Scholarship in 2008. Wang’s work has since been exhibited from Hong Kong to New York, including exhibitions at the Penrith Regional Gallery, Sydney; Chongqing Art Museum, Chongqing; Today Art Museum, Beijing; Museum of Contemporary Art, Taipei. Wang was selected as one of the top female Chinese artists to observe and featured by writer Luise Guest for her book on female Chinese artists ‘Half the Sky’ published in 2016. ➝稲

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ꅾ䣓繠遮긬⻌❩➚傈繠遮긬〵Luise Guest ♶ざ䞔椚涸㜥兞毕⸈⡃⛖㖈갧ⵠ꟦剣✫〳腊䚍կ⽰⢪尝剣湬䱹䲽鶣➃涸汚騋殥⡲❠ꦠ兎㖑䭷ぢ䧮⦛2015 2016⻌殹➿谀遮긬կ
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殥꬗㥵鶴ꪒ菚䒸➃Ⰶ⹨箣箣⼮饰涸ꪒ孴刿⸈䓽✫鸎Ⱖ㦪涸䎑㞯կ

湱⿿桬⛓⽇涸♧❈⡲ㅷ⡃⛖䭷ぢ➃涸㶸㖈⡎刿稣築㖑錙㻋⵱剚涮植➃➠僽搁䖰㼥䪪涸կ
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尝剤㣖ꤿ Edouard Malingue Gallery, Shanghai, China

꼛ⲳ殥䐤
♳嵳
⚥㕜 22.03.19 - 05.05.19 If the task of the classical painter is descriptive persuasion, by which nature could be Marked by gestural vivacity, Cui Xinming’s phantasmal paintings resemble displaced represented in a picture with an almost immersive accuracy, the five contemporary news stories or film stills as if recalled from distant mnemonic incidents. Permeating painters presented in this exhibition take the opposite approach, achieving the illusion Cui’s works is a pervasive sense of subjectivity and critique – a distinct pulse from of nature by describing that which cannot be described but spells out the relations Zheng and Yuan’s practice – augmented by a series of historical, social and art historical between man and the world. Varying in style and concept, the works on display – references. As such, Cui captures the spirit of an environment we are familiar with, equally subjective and experimental in nature – testify to the vitality of the genre in but one that is under the undefined auspices of political and ideological flux. their seeming lack of curatorial connection. Untethered from the shackles of technique and style, these artists permit subtle hints of criticism, metaphor and eccentricity to There is this experience, when we stare long enough at an object and its form grace their work, providing an articulation for a plethora of considerations. unnervingly blurs. It represents the variances of our visual experiences when we approach Wang Zhibo’s paintings, whose protagonists, upon closer examination, Beyond a prolific painter across traditional ink, colour powder and woodcuts, Sun Xun are never depicted quite as they are. The two still life paintings which capture two is more ofen considered a film director. On display is an ink on silkscreen installation, distinct moments in an anonymous kitchen, for instance, present a compositional replete with Sun’s signature ambiguity and phantasmagoria wherein intransigent practice through which Wang explores the meta-language of painting, whilst The conflicts and tensions fuse the line between deception and reality, scraping the history of body, the history of sprite (2019) experiments with, and challenges, multiple uncontested surface of politicised truth. Sun’s art thus acts as a theatre of the manifolds of the body according to spatial, light and emotional variances. power play between authority, government, media and, crucially, those outside of its periphery. Ultimately, ‘Sans Soleil’ is a pictorial travelogue, bringing together Edouard Malingue Gallery’s five painters to weave a meditative visual essay that harks back to French Zheng Zhou is a painter of instinct: straddling an epistemological outlet and what writer and director Chris Marker’s seminal piece of the same title. Taking subjectivity Zheng calls “the divine will” beyond technical, aesthetic and moral considerations, and fiction as a departure point, as does Marker, one is lef privy to the nature and each painting acts as a canvased portal unto a segment of observations from the nuances of contemporary painting and how, as a result, the perception of personal world. Presented is imagery of death and monstrosity conceived from The Legend of and collective histories is affected. the White Snake, a Chinese romantic tragedy through which Zheng articulates tales of humanity, desire and fateful causality.

At a distance, Yuan Yuan’s elaborate oil on canvas paintings nearly resemble in their visual authority a photograph. His works, however, crucially do not represent reality per se. Rather, his protagonists – sumptuous yet depopulated interiors ranging between states of wealth and abandonment – are explorations of details, narrative threads rediscovered in the remembrance of things past. Charged by such sheer desire, or need to understand, Yuan’s paintings evoke the sensorial organisation of the glitches or shifs between actualities: what could have been, could still be, or will eventually be. Akin to the process of tidying one’s household, they reference the Düsseldorf School of Photography, in particular Candida Höfer, and French writer Alain Robbe- Grillet’s work, in the sense that finality is never fully achieved. One grasps that Yuan’s paintings are struck not with the sense of luxury and shock they appear to offer, but with the harmony between its subjective and objective actualities. 㥵卓铝〢Ⱙ殥㹻涸⢪ㄐ僽䪾✲暟䲽鶣䖤湈ꆀ剣铝剪⸂雊殥⡲窍➃魧荆Ⱖ㞯菚涸䠭 莄邿黆姻㥩湱⿿䄄倝僈涸殥⚥⯎怐✫遤⹛կ➭涸粭殥䖃䖃溏⡃♧䓹倝老㕭晙䧴♧ 厩⸂齡랂殹➿殥㹻陶㥵姼妃㾝錓⚥涸❀⡙➭⦛刿격䠑⿡䲽鶣齡❈♶〳䲽鶣涸匌 䌬ꨵ䕧殥꬗⡎鄄縨䳕✫Ⱖ⚥厤⦐➃暟䧴鄄䳕✫酤勲䧴颭✮Ⱖ눥䎑涸蒀䕙ぐ珏 銯齡❈儗瑟♶僈ծ贠㻜ꨈ鳹涸匌銯䖰罜鱲陼➃莄⚆歲涸ꡠ⤙կ䕎䒭⿺錙䙁ぐ殯鸎 ⢵荈娛〷✲⟝ծ爢剚植㻜ㄤ繠遮〷⚥涸㕭⫸⯋稇鄄䭨顦Ⱖ⚥⟁殥꬗格䖤♧珏Ⰼ倝 ❀⡙谀遮㹻涸⡲ㅷ鿪噱Ⱘ⚺錙䚍ㄤ㻜뀿䚍䪾➭⦛佞㖈♧饰剚涮植搁岁䪪ⵌ⟣⡦ 涸齄鰿կ鸎珏䊨⡲倰䒭ⶍ㥩僽ꀿ崍涸⿿꬗կꧪ搬䄄倝僈♶钡捀➭涸⡲ㅷⰨ剣⟣⡦涸 傁剣涸嚋䙁䧴鑂䕀〳⟄欽⢵嚋䭍➭⦛涸ⶽ⡲鸎姻㥩阮僈✫粭殥➠搬⯎怐✫欰ㄐ⸂ 䪠ⴼ䚍⡎鸎珏⚺錙䚍噱䓽涸粭殥遤⹛劥魧䊺竤邍僈✫⡲罏涸䡿䏞կ㔐ⵌ剒ⴲ涸鸎 ㄤ〳腊䚍䬚Ꟛ邍꬗涸䪮䊫莄괏呔粭殥〳⟄㣰䌞涸材럎涸鐱锸猙㺙涸ꦠ㌇〢䚓 䓹倝老㕭晙鸎♧䌬ꨵ䕧殥꬗䖃䖃僽♧䓹噱Ⱘ佟屛䠑陏䕎䡿涸㹒⫄㕭⫸⡲捀䱹佐 涸浤㥩殥㹻湈〳⟄㖈Ⱖ⚥冱䨾妝鎊搁瓚搁湈կ 㼩韌涸谀遮㹻⛲剎帿「Ⱖ䕧갠粭殥窍✫䄄倝僈♧妃丸✥⿿姻ㄤ荈䧮㻣鋕涸堤剚կ

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邿黆涸殥牟⡃〢Ⱙ粭殥稣眎Ⱘ넒罜鞮㺢搁➃涸䒊眠暟䧴㹔Ⰺ㜥兞ꦠ秉鷳ꪪⴀ宕 䚻䠭կ稣溏⛓♴⽿涮植Ⱖ㻜➭㼩殥⚥稣眎贕椚♶傋㖈鷅宠礵焷䖃䖃〫僽鰋䲽帜 㻨կ亡怐殥꬗涸倾单劣眎♶僽挠䪮涸䩛媯罜僽⚺겗劥魧կ♶㧎㥵姼䟝⫸㖈♧⦐尝 剣➭➃ծ尝剣遤⹛涸䞔兞⚥殥㹻尝剣鼆乵饥ぢⰊ䗱㔐䥊罜僽影ㄤ㖑雊滚⵸涸♧ⴗ 稣眎鷶恸隶䖤幡兠尝剣湡涸罜⫦⫦捀✫㼩꬗⵸♧ⴗ⭽〳腊涸澗蕯䭷䱍㽠㥩嫱⿡ 侮椚♧㾋꧸暟〫僽⚛ꬋ暟椚䠑纏♳涸侮椚罜僽䠭濼䠑纏♳涸侮椚կ㖈䖎㣐玐䏞 ♳邿黆涸㻜驏♳䪬✫勭㝱晋㢴㣗伡䕧㷸崣ծ㽍Ⱖ僽$BOEJEB
)µGFS⿺俒㷸⚥涸꣚ 貼˖繏⠭呔ꅽ羴瘝곏饟⯓뀜䨾Ꟛⶽ涸䱲程鸎㜥䱲程黆黆尝剣穡勲㔔捀Ⱖ椚䟝穪 ꬋ⿡醢鸣厤珏⟁➃꩎끆涸䕎䒭罜僽鸑麔錙㻋ㄤ侮椚⟄宠麧荝⚺넒䚍ㄤ㹐넒⚆歲⛓ ꟦涸㸤繠䎂邂կ Installation view

㾝錒植㜥 Installation view

㾝錒植㜥 Installation view

㾝錒植㜥 Installation view

㾝錒植㜥 The history of body, the history of sprite

魧⡤〷礵牟〷2019

Acrylic and oil on canvas

䋒♳⚋掜ծ屘殥170 x 200 cm 170 x 200 ⾦碛 Hey Muse!

2017㏮籡倛

Oil
and pigment on canvas

120䋒♳겝俱ծ屘殥 x 160 cm 120 x 160 ⾦碛 Kitchen event 1

⾾䨻✲⟝♧
2019

Oil on canvas

115 䋒꬗屘歘x 150 cm 115 x 150 ⾦碛 Kitchen event 2

2019⾾䨻✲⟝✳

Oil
on canvas

115䋒꬗屘歘 x 150 cm 115 x 150 ⾦碛 He no longer looks human

➭♶ⱄ剣➃涸垷垺

Edouard Malignue Gallery, Shanghai

꼛ⲳ殥䐤
♳嵳 24.03.2018 - 29.04.2018 Whether it be of a still-life, figure or landscape, Wang Zhibo’s recent paintings carry a repeated sense of Painters today must seek new methods in order to counter and respond to contemporary conditions of ‘sketching from life’ (xiesheng). Why is this so? Is it because the subjects she paints have no ‘meaning’? art and reality. Any one image already exists out there and yet this condition is really no different from Or is it because her paintings do not reflect interrelations of meaning or involve narrativity in a traditional not-existing. Any image can convey any meaning – the relation between imagery and meaning however sense? As part of China’s standard art education, drawing or painting from life is considered practice – it has fundamentally changed. Hence, painters today face an exceedingly difficult task—a task that is also is mere preparation for a final ‘meaningful’ creation. Yet, Wang Zhibo’s works purposely linger, or rather, exceedingly crucial and exceedingly appealing. continuously return to this condition of practice. ‘He no longer looks human’ is the title of Wang Zhibo’s solo exhibition at Edouard Malingue Gallery, The question is such: if the subjects of a painting do not have ‘meaning’ then where does the ‘meaning’ Shanghai. A subject is originally the projection of the human spirit – what Wang Zhibo portrays is the of a painting lie? mating and morphing of humans and objects. Humans no longer take on a human form. For Wang Zhibo, bodily flesh, as the abode of life, is the only certainty we have. The human body is the only rock upon In 1943, as part of a dialogue between Henri Matisse and Louis Aragon, Matisse remarked, “I don’t mean which one can have a footing in a world of turmoil and constant upheaval. In Wang Zhibo’s work, the that by seeing the tree through my window I work to copy it. The tree is also the total sum of its effects human body—an arm, a leg, a posture, a gesture—is a simple and pure subject not worn out by thinking; upon me.” This is an of-quoted episode of Western art history: from such beginnings the Modernist to us, it is familiar and yet foreign, the base of life both loved and feared. subject in painting has been disintegrated, disjoined and dissected until it has become a pure concept or experience only to be referred to and no longer viewed. Yet, what happened later is far from Matisse’s In the past few years, Wang Zhibo (like a number of artists) has been using many readymade images from intent (to use Matisse as the paragon of a Great Painter). The pure and unadorned working condition mainstream books, magazines and websites in her paintings. By removing the context, she endeavours he describes is that free state reached by a modern painter afer shaking off the baggage of classical to turn these images into ‘material’ instead of pursuing the ‘meaning’ of such ‘materials’, and certainly painting history. This freedom, however, ended up being rapidly forsaken by the radical spirit of the age. not pursuing their ‘meaninglessness’. Rather, she simply tries to refine with them a ‘meta-language’ of painting—colours, lines, chiaroscuro, space, amongst others. Modernism’s historical process of ‘content elimination’ reached an end point afer Minimalism. At the same time, visual reality today happens to present a truly ‘contentless’ spectacle in a manner that It is, admittedly, a makeshif stratagem, a compromised Dada, a blind chance. Yet, this is also an approach would’ve been unimaginable to painters throughout history: everyone can attain first hand an utterly that inspires: contemporary painters are returning to the working conditions described by Matisse, in a ‘contentless’ viewing experience through advertising, surfing the web and science fiction films. But what peculiar way. Just as with drawing or painting from life, painting has again become an uninterrupted such experiences bring about is not that pure, spiritual exchange as promised by Modernism but rather everyday experiment. Through the realisation of every painting, painters and viewers of paintings can Anarchism. discover this craf of bodily sensations and discover how, with certain as of yet unnamed ways, they can record the very complex spiritual world of people in the contemporary age. If such a world can be said to perplex ordinary experiences of viewing then for painters it must certainly be incomparably hopeless. 搁锸僽ꬅ暟ծ➃暟鼨僽괏兞桬⛓⽇鵛䎃涸殥⡲㨤穅䌞剣㻨欰涸䠑㄂կ捀➊랂剚鸎垺姻㔔㥟䨾粭殥涸 ➚㣔涸殥㹻䗳갭㼥宠♧❈倝涸倰岁⟄䥰㼩殹♴涸谀遮⿺植㻜贕㞯⟣⡦涸㕭⫸鿪䊺竤㶸㖈⽿⿶莄♶ 㼩⫸尝剣䠑纏䧴罏铝⚛♶圓䧭䠑纏♳涸ꡠ鸭❠⽰尝剣⫄窠䠑纏♳涸侃✲䚍կ㖈⚥㕜涸垥彋谀遮侅 㶸㖈搁殯⟣⡦涸㕭⫸鿪剣〳腊⫄麧⟣⡦♧珏䠑纏ЭЭ
㕭⫸ㄤ䠑纏涸ꡠ⤙䊺竤䖰劥颶♳佖隶✫կ㔔姼 肫⚥㻨欰僽箻绡⫦⫦僽捀✫剒穅剣䠑纏涸ⶽ⡲罜彋⪓罜桬⛓⽇涸殥⡲⵱剣䠑㖑鸉殆㖈䧴罏铝 ➚㣔涸殥㹻➭⦛涸䊨⡲噱Ⱖ㔮ꨈ⽿⛲噱Ⱖꡠ꒳噱Ⱖ鶴➃կ ♶倬㔐ⵌ鸎⦐箻绡涸朜䡿կ շ➭♶ⱄ剣➃涸垷垺ո僽桬⛓⽇㖈꼛ⲳ殥䐤♳嵳瑟꟦涸⦐㾝겗湡㼩韌劥⢵僽➃礵牟涸䫏㼘暟桬⛓⽇ ㉏겗僽㥵卓粭殥㼩韌劥魧尝剣䠑纏齡랂粭殥涸䠑纏⡦㖈 殥涸僽➃莄暟⛓꟦涸❜㱛莄隶䕎➃♶ⱄ剣➃涸䕎朜կ㖈桬⛓⽇溏⢵⡲捀欰ㄐ⛓㾀䨾涸聘넒僽䧮⦛ ⫦剣涸焷㹁⛓暟կ➃涸聘넒僽꬗㼩鸎⦐⹛湚罜♶倬隶⻊⚆歲涸㈔♧涸〳⟄用駈涸䀵瀖կ㖈桬⛓⽇涸殥 䎃㖈꼛裥倛莄騟僒v꣚䬘顀涸♧妃锒鑨⚥꼛裥倛䲿ⵌ殥埠♶䠑㄂衼荝⸂倴䪴銓㸐殥埠僽殥埠 ⡲⚥➃涸聘넒♧媯脰艵♧哬艙♧⦐㗂㪧♧⦐⹛⡲僽♶「䙼䟝䨾稡涸㋲秫涸㼩韌僽䧮⦛擿䜪⿶ 㼩䧮涸䕧갠涸籎ㄤ僽殥䧮㼩埠涸䠭錏կ鸎僽銯倰谀遮〷♳苢持➃〡涸澕꟦
ЭЭ
植➿⚺纏荈姼Ꟛ㨤 ꣫欰㋐䠥⿶䧌䙲涸欰ㄐ涸呏㛇կ 粭殥涸㼩⫸鄄ⴔ鍒ծⴔ䬒ծⴔ區湬ⵌ㸐隶䧭秫礨涸錙䙁䧴竤뀿〫腊鄄䭷嶍罜♶ⱄ〳⟄鄄錙溏կ⡎僽䖔 ⢵涮欰涸鸎❈✲黆♶僽꼛裥倛⡲捀㣐㻨殥㹻涸➿邍涸欽䠑➭䕎㺂涸鸎⦐秫礨罜知埞涸䊨⡲朜䡿 㖈麔⿡䎘䎃꟦桬⛓⽇騈Ⱖ➭㥩❈殥㹻♧垺㖈粭殥⚥鼆欽䖎㢴⢵荈⚺崨剅ⴚ⿺笩騟涸植䧭㕭⫸鸑 僽♧珏植➿殥㹻他膧✫〢Ⱙ粭殥涸娛〷⺫鄍䖔ⵌ麧涸荈歋朜䡿⡎鸎珏荈歋⽿⿶䖎䘯鄄儗➿涸慨鹍礵 麔⿡ꤑ㸐⦛涸铃㞯㥟鑑㕭㼞鸎❈㕭⫸隶䧭勞俱♶ⱄ鷅宠鸎❈勞俱涸䠑纏刿♶鷅宠㸐⦛涸 牟鼌唲✫կ 搁䠑纏〫僽㋲秫㖑⟄㸐⦛⿡鑑摎粭殥涸⯋铃鎊
ЭЭ
蒀䕙ծ箁哬ծ⯕冝ծ瑟꟦瘝瘝鸎♶腊♶铝 僽♧⦐奙㹆⛓鎙♧珏䫔邪涸麧麧♧珏湧䩧铏中կ⡎⟁➃䮷㥅⛓贕❠姻㖈姼殹♴涸殥㹻姻㖈⟄♧珏 植➿⚺纏嶊鍒Ⰺ㺂涸娛玐㖈噱知⚺纏⛓䖔饥ⵌ湈걧ず儗➚㣔涸鋕錏植㻜⿶䜄䜄⟄♧珏娛➿殥㹻 暵殯涸倰䒭㔐ⵌ꼛裥倛䨾铝涸齡珏䊨⡲朜䡿⚥㽠⫸㻨欰♧菚粭殥ꅾ倝隶䧭♧珏♶꟦倬涸傈䌢㻜뀿 鿪搁岁䟝⫸涸倰䒭㼞♧⦐溫姻尝剣Ⰺ㺂涸兞錙ッ植✫ⴀ⢵ЭЭ嫦⦐➃鿪腊ⴗ魧㖑格䖤䑝デծ笩窄 鸑麔嫦♧䌴殥⡲涸㻜驏殥㹻⿺錙溏殥⡲涸➃⦛鿪〳腊涮植粭殥鸎珏魧넒䠭錏涸䊨谀㥵⡦〳腊⟄♧ 竤뀿ծ猰䎑ꨵ䕧䨾䌞⢵涸♧珏䗢䏀㖑尝剣Ⰺ㺂涸錙溏竤뀿⡎鸎珏竤뀿䨾䌞⢵⚛ꬋ植➿⚺纏䨾䪬閊 ❈㿂倴劢剎ㄐぜ涸倰䒭⿡私ꏖ殹♴➃⦛搁嫱醲꧸涸礵牟⚆歲կ 涸秫礨礵牟❜崨〫僽♧珏搁佟䏎⚺纏կ

㥵卓铝鸎⦐⚆歲窍♧菚錙溏罏䌞⢵✫㔮䞨齡랂㸐窍殥㹻䌞⢵涸䟝䗳僽搁嫱涸穪劅կ Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Installation View

酤縨植㜥 Female! (Self-portrait), 2018 , 2018 嫢涸 荈殥⫸ Acrylic and oil on canvas

䋒♳⚋掜ծ屘殥200 x 200 cm 200 x 200 ⾦碛 New enigma of Kaspa Hauser, 2018 , 2018 倝⽓倛䋪
韝愯晋⛓閰 Oil on canvas

250 䋒♳屘殥x 165 cm 250 x 165 ⾦碛 Sitting (Saint 1-3), 2018 1-3 , 2018 㗂翰䖝
 Acrylic and oil on cavas

䋒♳屘殥ծ⚋掜 Sitting (Saint 1), 2018 , 2018 㗂翰䖝♧ Acrylic and oil on canvas

䋒♳屘殥ծ⚋掜200 x 135 cm 200 x 135 ⾦碛 Sitting (Saint 2), 2018 , 2018 㗂翰䖝✳ Acrylic and oil on canvas

200䋒♳屘殥ծ⚋掜 x 270 cm 200 x 270 ⾦碛 Sitting (Saint 3), 2018 , 2018 㗂翰䖝♲ Acrylic and oil on canvas

200䋒♳屘殥ծ⚋掜 x 540 cm 200 x 540 ⾦碛 The principle of classic poetics, 2018 , 2018 〢Ⱙ鑗㷸⾲⵱ Bronze casted sculptures, fruits

Dimensionsꙍꋜꧧ㝕宐卓 variable

㽯㼄♶㹁
Ⱏ⟝ (Detail) The principle of classic poetics, 2018 , 2018 稣眎 〢Ⱙ鑗㷸⾲⵱ (Detail) The principle of classic poetics, 2018 , 2018 稣眎 〢Ⱙ鑗㷸⾲⵱ Three human-shaped potteries with serious faces, 2018 , 2018 ♲⦐剣衼㓃聐邍䞔涸➃䕎ꤲ緵 Oil on canvas

180 䋒♳屘殥x 135 cm 180 x 135 ⾦碛 Light yellow++, 2018 , 2018 幏랓 Oil on canvas

180䋒♳屘殥 x 135 cm 180 x 135 ⾦碛 Mr. Bling Bling, 2018

Oil on canvas

160 䋒♳屘殥x 120 cm 160 x 120 ⾦碛 Immigration policy’s blah-blah-blah, 2018 , 2018 獴字佟瘻⛓䑝デ鑂 Oil on canvas

180䋒♳屘殥 x 135 cm 180 x 135 ⾦碛 Untitled, 2018 , 2018 搁겗 Oil on canvas

115 x䋒♳屘殥 200 cm 115 x 200 ⾦碛 Pan Yuliang: A Journey into Silence

悭桪葻
小랾涸假玐
Phase 1

痦♧ꥢ媯 Villa Vassilieff, Paris

檲銯⴩㣗Ⱆ긬
䊼랫 20.05.2017 - 21.06.2017 The social network of Pan Yuliang’s early career as a modernist artist and an art educator in the period of the Republic of China resonated with larger social-political movements at that time: from the cultural 悭桪葻鸎⡙植➿⚺纏殥㹻ծ谀遮侅肫䊨⡲罏涸谀遮欰巆ㄤ字㕜儗劍涸佟屛俒⻊麋⹛䜂䜂湱ꡠ㥟涸㾶 construct of “New Woman” and the New Culture Movement, to the revolution and reform launched by 娛僥阮✫䖰倝俒⻊麋⹛ㄤ倝㥎䚍涸钱欰ⵌ㕜ⰟⰎ럛傍劍涸ꬠㄐ莄爢剚佖ꬠ麋⹛ծ⚥㕜植➿俒⻊字 the Nationalist Party and early Communists and the rise of modern nationalism in China, and from the 偛⚺纏䙼惐涸莇饰⟄⿺♧妃⚆歲㣐䨞㽵耪ⵌ䎃傈劥⤀螟劍꟦涸珏珏ꡠ꒳儗ⵠկ湱嫱莄㥟ず儗➿ end of World War I to the Japanese Invasion in 1937. While many of her male peers and acquaintances 涸歑䚍濼陏ⴔ㶩㖈爢剚涮耪ծ俒⻊㝕鸣ㄤ娛〷剅㻨♳涸⚺⹛䠑陏悭桪葻㼩倴荈䊹欰崞涸ꅾ㣐鱲隶⟄ with western educational background advocated their social, political, and cultural visions in public, ⿺⦐➃谀遮괏呔涸䱲程⚛尝剣殆♴㢴㼱〳⣘⿮罌涸荈鶣կ鸎珏荈錏䧴♶荈錏涸小랾㖈㥟剒䖔䎃涸 and made their way into mainstream history, Pan Yuliang’s own accounts related to major decisions on 䊼랫欰巆⚥⛲尝剣㢴㣐佖隶կ
䎃⟄㥟捀⚥䗱涸⚥㕜植➿谀遮㹻㔋➃㾝㖈䊼랫飓⸖㣼❏崍谀遮 changes in her life and her artistic motivation are nowhere to be found. The silent journey continued ⽇暟긬Ꟛ䍋鸎⛲僽悭桪葻⿡⚆⵸⿮⸈涸剒䖔♧⦐㾝錓կ悭桪葻㼞♧⦐⦐㾝堤剚鱲⻊捀㔋⡙魧㾀嵳㢪 beyond her return to Paris in 1937, and she lef no written commentary regarding her concept for “Quatre ⚥㕜㥎䚍谀遮㹻Ⱏず㾝爙涸䎂〵⡎⚛尝剣㽠㾝錓圓䟝殆♴晙鎊〫铃կ artistes chinoises contemporaines”, which opened in 1977 in Musée Cernuschi in Paris. For this particular exhibition, Pan Yuliang extended the solo invitation to include three other woman artists, who worked in 「悭桪葻䎃㾝錓涸㉫涮➚䎃剢⟧Ꟛ䍋涸䊼랫畀悭桪葻小랾涸假玐鼜锝谀遮㹻脋傮ծ랓ꬅ黆ծ traditional art forms and were all part of the Chinese diaspora. 桬⛓⽇⿺谀遮〷㷸罏倴庻穉䒊✫♧⦐꧋ざ䚍涸灇瑕⚥➝罜劥妃剢⟧㖈儗➿繠遮긬涸痦✳畀⵱⸈Ⰶ ✫ⷛ㜥ծ倰樍ծ獓儢ծ㸢䬪ꆚ㼩㾝錓⚺겗ⶽ⡲涸倝⡲ㅷկ歋倴悭桪葻⾲⡲涸♶〳䖤㾝錓⚛ꬋ⫄窠䠑纏 Inspired by Pan Yuliang and her decision to open the 1977 exhibition to others, this May in Paris , the ♳涸㔐곂㾝❠搁䠑䒊用倝涸ꡠ倴悭桪葻涸奙㪭䚍侃鶣刿♶僽銳鸑麔♧⦐㾝錓捀悭桪葻姻ぜկ湱⿿ exhibition Pan Yuliang: A Journey to Silence invited artists Hu Yun, Huang Jing Yuan, Wang Zhibo and art ♶ず涸ⶽ⡲⚺넒鄄䫏㼘鹍歋悭桪葻欰䎂⿺Ⱖ魧䖔涸鱲⻊ㄤⱄ植⛓⚥⚛㖈㾝錓⚥ッ植鸎❈⚺넒꟦涸⡙ historian Mia Yu to form a research group functions as a collective subjective agency. Following that in 獴ㄤ❜✽鮨騋կ⿮㾝䧭㆞꟦⵱✽捀⚺㹐灇瑕莄㾝錓穉䧭♧㜥醲锄涸❜갠莄悭桪葻㖈⫄窠莄植➿⚥㕜 September, the second chapter at Times Museum, invites Theatre 44, Fang Lu, Qin Jin and Song Ta to ꟦涸饥ぢ䕎䧭Ⱏ뒊⛲㼞㥟鄄䒊圓涸欰䎂ㄤ谀遮䧭㽠縨Ⰶ殹➿䚍涸⹛堤ծ鴵鶫莄獘䎸⛓⚥կ join in with their new commissions arising from Pan Yuliang and responding to the exhibition. Due to the inaccessibility of Pan’s original paintings, this is by no means a retrospective exhibition. Departing from the idea of representing Pan Yuliang by claiming new territories of authority or the delusion of bringing justice to her misrepresentation, we displace our own subjectivities in the constellation of Pan Yuliang’s past life and her incarnation in our age as well as in the current exhibition, so as to introspect the gender bias and absence of female subjectivity in historical writing and mass media. Defying the usual autonomous zone of individual work and artist, all participants in the exhibition are hosts as well as guests of each other’s contribution. The research and the exhibition form a polyphonic orchestra that not only echoes Pan Yuliang’s unique trajectory between modern and traditional China, but also situates her constructed biography and artistic achievement within contemporary motives, detours and cosmos. Installation View

酤縨植㜥

Image courtesy of the artist

㕭晙歋谀遮㹻䲿⣘ Installation View

酤縨植㜥

Image courtesy of the artist

㕭晙歋谀遮㹻䲿⣘ Installation View

酤縨植㜥

Image courtesy of the artist

㕭晙歋谀遮㹻䲿⣘ Pan Yuliang: A Journey into Silence

悭桪葻導랾涸假玐
Phase 2

痦✳ꥢ媯 Times Museum, Guangzhou, China

儗➿繠遮긬䑝䊜
⚥㕜

08.09.2017 - 15.11.2017

Afer the presentation in Villa Vassilieff, the journey unfolds into its second stage in the Guangzhou Times Museum, where more artists are invited to join the conversation, and develop new interrogations that arise from Pan Yuliang while responding to the current situation of woman and female artists in China.

䊼랫檲銯⴩㣗Ⱆ긬涸㾝錓⛓䖔鸎♧假玐⢵ⵌ痦✳畀ˋ䑝匌儗➿繠遮긬⚛鼜锝ⵌ刿㢴谀遮㹻⸈Ⰶ鸎 㜥䭯糵䚍鎣锸㾝Ꟛ涮㉏⚛㔐䥰⚥㕜㥎䚍莄㥎䚍谀遮㹻涸殹➿㞯屣կ Installation View

酤縨植㜥

*NBHF
DPVSUFTZ

PG
5JNFT
.VTFVN
(VBOH[IPV 㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Installation View

酤縨植㜥

*NBHF
DPVSUFTZ

PG
5JNFT
.VTFVN
(VBOH[IPV 㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Installation View

酤縨植㜥

*NBHF
DPVSUFTZ

PG
5JNFT
.VTFVN
(VBOH[IPV 㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Welcome, 2017

Oil on canvas

120屘䕙
殥䋒 x 80 cm 120 x 80 ⾦碛 Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Painting in the Name of Female, 2017

Oil on linen

150屘䕙
殥䋒 x 115 cm 150 x 115 ⾦碛 Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ As a painter, colour will always be a question, 2017

Oil on canvas

155屘䕙
殥䋒 x 115 cm 155 x 115 ⾦碛 Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Flesh Morning, 2017

Oil on canvas

100屘䕙
殥䋒 x 67 cm 100 x 67 ⾦碛

Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Part of the Shadows 1, 2017

鿈ⴔꤤ䕧

 LEGO, mannequins, working clothes, epoxy resins, asphalt paint

坾넞➃넒垷㘗
䊨⡲剪
橇孻埠腒
戎ꫬ
50x35x14cm 50x35x14
⾦碛

Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Part of the Shadows 2, 2017

鿈ⴔꤤ䕧

 LEGO, colour box, paint tube, pen, oil painting brush, high heels, sun glasses, tablets, cosmetics, super-light clay, epoxy resins, asphalt paint

坾넞
겝俱渱겝俱盗㕩棟瘗
屘殥瘗屘殥ⵘ
넞騈巜ꭑ
㣖ꤿꖏ
谓晙
⻊㦲ㅷ馄鰋磨㕼
橇孻埠腒
戎ꫬ
50x35x14cm 50x35x14
⾦碛

Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ Part of the Shadows 3, 2017

鿈ⴔꤤ䕧

 LEGO, fruit models, super-light clay, epoxy resins, asphalt paint

50x35x14cm坾넞
宐卓垷㘗馄鰋磨㕼
橇孻埠腒
戎ꫬ
50x35x14
⾦碛

Image courtesy of Times Museum, Guangzhou

㕭晙歋䑝䊜儗➿繠遮긬䲿⣘ There is a place with four suns in the sky - red, white, blue and yellow

湡⛓䨾⿺ Edouard Malingue Gallery, Hong Kong

꼛ⲳ殥䐤
껺度
25.08.2016 - 17.09.2016 Tropical sceneries that appear to scin-tillate; an amalgamation of distorted vegetables; the blurred Moving from environmental and do-mestic renderings, Wang equally pre-sents an array of people; vision of a seated mother and child - each are running explorations in Wang Zhibo’s (b. 1981, China) solo rather than immersing herself amidst them though, she takes an observational, anthropological stance, exhibition at Edouard Malingue Gallery ‘There is a place with four suns in the sky - red, white, blue and seemingly capturing a tribal set - indistinctly from the past, present or future - from afar, as they engage yellow’, which takes its titular inspiration from a line in Carl Sagan’s seminal 1973 book ‘The Cos-mic with daily activi-ties, from washing utensils, ‘Last Man’ (2016), to seemingly ritualistic danc-ing, ‘Dancing Connection: An Extraterrestrial Perspective’ that relates to the spec-tacular cosmos. Focusing on the is Better’ (2016). Despite these paintings’ references to human presence, however, one notes that each possi-ble existence of more advanced civili-sations and their distribution across our local galaxy as well is crucially devoid of human expres-sion. ‘Mother and Son’ (2015), for ex-ample, transplants a classically as the universe, the text pins Wang’s interest in ex-tending space and time as far as pos-sible whilst reli-gious composition. Yet, the setting is distinctly ethnic with various skulls scattered upon the floor and integrating these spec-trums amidst the trivial. both fig-ures being adorned by bead-like wooden jewellry. More importantly, whilst the mother’s face is delineated, the child’s is unnervingly blurred to the extent of resembling defacement. Such vigorous A graduate from the China Academy of Art Oil Painting Department in Hangzhou, Wang treats the anonymity heightens our consciousness of how much is read through facial fea-tures, expressions, the medium of oil on canvas as a crucial player in her aim to confound our temporal and spatial notions. very characteris-tics that distinguish each and every one of us. Transcending tradi-tionalism through the subject matter depicted, which is both curious and challenging, Wang channels her paint-ing to represent the variances of our visual experiences, “similar to the re- Ultimately, these works present a new vein in Wang’s practice, moving be-tween time and space, flection on the surface of water: capa-ble of capturing the multiple mani-folds of a subject.” [1] What is challenging our understanding of what constitutes dai-ly life. From the spaces we could in-habit, the repre-sented is a synthesis though, a more accurate portrayal of the actual; in relation to the cosmic - a items we may eat, to the rituals we perhaps share with others, Wang provides through her exhibition a wormhole. Indeed, as described by Wang, “the variations of dots, lines, contours, paints, impasto, light portal into another mode of living, a fully-formed set of life, which is dis-tinct yet not utterly dissimilar to rendering, col-ours and shadows… facilitate the poet-ic representation of reality.” [2] our own. Invited voyeurism, we are urged to view, discover and understand an-other, which may or may not be of this world, or indeed universe. The grand panoramic work ‘Rise, Fall’ (2016), for example, depicts a dewy and nearly spectacular tropical land-scape. Dotted by hovering spheres that in themselves resemble planets, the painterly finish hints to Wang Zhibo is a highly regarded fe-male Chinese painter who rose to prominence afer being awarded the illusions, a magical environs, a sentiment that is heightened by the rising mist. Albeit a different subject prestigious national Luo Zhongli Scholarship in 2008. Wang’s work has since been exhibited from Hong matter, ‘Summer Kitchen’ (2016) extends Wang’s con-sideration of associations. Depicting multiple Kong to New York, including exhibitions at the Penrith Regional Gallery, Sydney; Chongqing Art Museum, vegetables including a roast-ed chicken, the painting at first sight appears as a classical still life of pre- Chongqing; Today Art Museum, Beijing; Museum of Contemporary Art, Taipei. Wang was selected as one paratory items for a meal. Upon closer inspection, however, there is a deliber-ate associative distortion as of the top female Chinese artists to observe and featured by writer Luise Guest for her book on female well as several unidentifiable objects, which consequently skew our perception. ‘Swaddling’ (2016) follows Chinese artists ‘Half the Sky’ published in 2016. from this, presenting various wrapped vegeta-bles under a ledge; recognisable items, their placement and display takes on a bodily association: hanging, balancing, piled, positioned.

[1] Wang Zhibo, Interview, August 2016 [2] Wang Zhibo, Interview, August 2016 ⡃⛖㖈Ꟑ早涸攧䌞兞錙
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桬⛓⽇䱰鏞䎃剢
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桬⛓⽇䱰鏞䎃剢 Installation View

酤縨植㜥 Backlit, 2016 , 2016 胜⯕

Acrylic and oil on canvas

㠹⯘⸂
屘殥
殥䋒 150 x 102 cm Untitled (Jewellry), 2015 ( ), 2015 搁겗
棇㼂

Oil on linen

❏띿屘
殥䋒 107 x 80 cm Family, 2015 , 2015 㹻䏭 Oil on linen

170❏띿屘
殥䋒 x 158 cm Summer Kitchen, 2016 , 2016 㢙㷍䑉䨻 Oil on linen

❏띿屘
殥䋒126 x 83 cm Installation View

酤縨植㜥 Ecstasy, 2016 , 2016 導鶴

Oil on linen

❏띿屘
殥䋒 170 x 180 cm Duplex (The Front), 2016 Duplex (The Back), 2016 ,2016 ,2016 ꧱꬗
姻꬗ ꧱꬗
胜꬗ Oil on linen, iron, Chinese blue stone Oil on linen, iron, Chinese blue stone

❏띿䋒
殥䋒
꘭
⚥㕜ꫬ瀖71 x 63 cm ❏띿䋒
殥䋒
꘭
⚥㕜ꫬ瀖71 x 63 cm Duplex (The Back), 2016 Duplex (The Front), 2016 , 2016 , 2016 ꧱꬗
胜꬗ ꧱꬗
姻꬗ Oil on linen, iron, Chinese blue stone Oil on linen, iron, Chinese blue stone ❏띿䋒
殥䋒
꘭
⚥㕜ꫬ瀖 ❏띿䋒
殥䋒
꘭
⚥㕜ꫬ瀖71 x 63 cm 71 x 63 cm Four Facts, 2016 2016 㔋⦐✲㻜
Cement, steel and plastic

Dimensions宐岞
ꏈ勞ㄤ㝕俱 variable

㽯㼄〳隶 Installation View

酤縨植㜥 Dancing is Better, 2015 , 2015 ♶㥵騥莺 Oil on linen

78.5❏띿屘
殥䋒 x 90 cm We leave that to the people who wear them, 2015

Oil on linen

❏띿屘
殥䋒 160 x 120 cm The Innocent Post-Internet Anthropologist By Nikita Yingqian Cai

“Every man carries within himself a world made up of all that he has seen and loved; and it is to this imaginary ‘contemporary’ tribe. Yet contrary to post-Internet aesthetics’ fast and seamless information world that he returns, incessantly, though he may pass through and seem to inhabit a world quite foreign flow, the image Wang creates pauses in a state of suspended enunciation that escapes semiotics. Silent to it.” This quote originates from Chateaubriand’s Voyage en Italie (1921), which gained popularity afer but inviting, it stands before the viewer and renders him at a total loss: one cannot magnify parts of the being referenced by Claude Lévi-Strauss Triste Tropiques (1955), becoming a symbol of the Romantic painting to scour for answers, nor can he, out of anxiety, evade the image itself. Constructed by Wang aesthetic. In his exotic treatise, Lévi-Strauss problematises naïve evolutionary theories by deconstructing with a configuration of antitheses, the Otherness of the image’s origin and significance seems extremely ‘the savage mind’. This subversion and art history’s post-eurocentrism, albeit occurring independently foreign even to the most experienced and knowledgeable viewer. from each other, has nevertheless synchronised in pace. A symbol of authority, the enthusiastic white scholar daringly addresses his subject ‘exoticism’ as a construct at the level of personal experiences and New media’s challenge against old media has become something of a cliché. The so-called crisis of reflections. Now we have Wang Zhibo, trained by an orthodox Chinese art institute since an early age, at figurative expressions recurs throughout art history and suggests that the death of materiality is present living in the picturesque Hangzhou, as both a professional painter and mother of a two-year- accelerating in face of the Internet, whilst its counterpart, Speculative Realism, continues to transcend old. Vis-à-vis her concern for the Other, the aboriginal body as well as the enigmatic tropical landscape, the autonomous properties of objects: “[…] the object takes the place formerly occupied by the genius how do we approach the manifested associations between the world of her creation and the world we – an individual possessed by an inherent talent or ability that is not subject to educational efforts inhabit? but naturally inborn, and for this reason someone who is self-reliant and free of outward relations.”[2] Here, the object is seen as the equivalent of the genius, traditionally embodied by white male artists. A graduate of the China Academy of Art’s Oil Painting Department and a recipient of the 2008 Luo Zhongli Suppose the androcentric narrative of contemporary art history follows the pattern of a tale between a Fellowship, Wang stands out as the authority in her discipline, championed by her studious engagement man and his lover, does a post-Internet female artist enjoy equality with her counterpart – or perhaps with shapes and colours. How to release herself from the precepts of mind and gesture, whilst staying an advantage – in her engagement with objects? Maternal life is ofen seen as too tangibly trivial for true to the medium itself, became her primary concern, whence emerged a pressing need for a departure the metaphysical issues that great artists are concerned with, yet such a life is, in fact, something that point to integrate the worlds within and outside painting beyond the level of orthodox techniques. In an metaphysical contemplation would not address: “Work and children are the two poles of everyday interview with Artron, she addresses the Internet, painting and everyday life as a circular triumvirate, “My life. I think [my child’s] birth has balanced my life, which had been, until now, relatively ‘metaphysical’. studio is a 10-minute commute from home, which naturally provides a portal to observe the outskirts’ Oscillating between the tangible world of diapers, milk powder, vaccines and the world of the Internet landscape and people. Arriving at my studio, then, I switch on my computer and the Internet transports or texts and images, the intriguing physical change engenders more persistent epiphanies during the me throughout the world. The informativeness of reality and the virtual world are thus equivalent; the creative process. I think it’s more fun this way. For instance, I might be dealing with the depiction of subject of one’s perception is anything but one-dimensional. Painting, however, permits the most lucid some faraway tropical fruits, when in fact I am just about to head to the supermarket in Hangzhou to understanding of my surroundings: compositions, such as gesture, context and rows of shadows, provide get my daughter a dozen bananas. As a mother, I’ve also become more sentimental towards notions of a point of departure in a particular moment.”[1] If we consider early preparations and research part of ‘nature’ and ‘rationality’. These should translate to further materials for my paintings, and I’m curious as the creative process inside a studio, for a post-80’s artist, the meaning of a ‘studio’ would transcend the to how they will be manifested.”[3] An educated mother certainly knows how to discuss the world and physical dimension: whether it be a desire to explore the vastness of the world or an attempt to bring the resolve everyday issues rationally with her repertoire. Labour coupled with the subsequent long-winded world into one’s personal space, the execution is as ephemeral as the exact moment when one launches rearing process, however, continuously challenges her physicality, intellect and self-awareness. It is not the Internet browser. To Wang, who has to divide her energies between work and family, the notion of a the advance of the Internet that leads to Wang’s fascination with fragmented and misplaced images, but ‘studio’ furthermore implies a reevaluation of how she perceives life, work and information. the dual identity of mother and artist which calls for a sound reconciliation between fiction and reality, life and dreams as well as work and domesticity by way of painting. From this perspective, the painterly Though Wang does not seem particularly concerned with popular ‘post-Internet aesthetics’, a crude transformation of her work since the solo exhibition ‘Standing Wave’ seems sensible: daily necessities appropriation of online data and materials is nevertheless manifest in her paintings, which superimpose, and the body now dominate her creation, where systematic training and orthodox painting theories have contrast and coalesce images in a manner that tends on the subjective and intuitive. At first glance, since fallen apart in the face of reality. a tribal family appears to take centre stage in ‘Family’ (2015): the father lovingly holds his child close whilst the mother clings to her husband – a scene that alludes to the early anthropological paradigm of In 2012, Wang painted a series of “elegiac” parkscapes[4]. At once post-human, static and neutral, they documentary, simultaneously reminiscent of the leisurely confidence in Édouard Manet’s “Le Déjeuner “[adhere] to the highly disciplined tradition of painting in oil on canvas”[5], “in contrast to the conventional sur l’herbe” (1862). Upon closer inspection, juxtaposed with the exact portrayal of these characters’ woman artist’s creation.”[6] Wang responds to such essentialist statements with her everyday wisdom, “It’s muscular shapes, skin colours and facial expressions, are the modern women practicing yoga in the because of the tranquility of life: day by day nothing changes. And yet, there’s nothing more sophisticated background: seemingly out of place, they are imitated by a young tribal boy who wears a concealed than life itself, which abounds with emotions. I seek to depict life as it is. As for the opinion that I’m not smile. With the aid of online search engines, Wang joins the ranks of fellow conspirators of exoticism on a conventional female artist – I simply enjoy the making of art, and it so happens that I am a woman. I’ve the Internet and sketches her always thought that the pleasure of art lies in its ineffability; it moderates man’s wisdom and amusement, and offers one an outlet to be at peace with the world.” Various female characters, bodies, frugal essentials and everyday fragments have taken centre stage in Wang’s paintings since 2015. It appears that she depiction of a favoured subject, was roused from her obsession with details, and thus puts all efforts on has become more domestic, but her work is, in fact, replete with depictions of foreign lands in distant pause. In the new work ‘Untitled (Still Life)’ (2016), two indistinct Eskimos (perhaps, or perhaps not) lean fantasies: tribal dances, family rituals and breastfeeding; curious objects, head portraits, female nudes against the wall: the one on the lef cocoons in furs (or a synthetic fur coat?) whilst his/her companion sits and museum displays; unknown tropical plants and exotic scenery, amongst others. watchfully, composed despite the scant nylon coat. To Wang, impeccable harmony in a two-dimensional image is nowhere near as important as the ambition to depict Eskimos and experiment with contrasting Drawing on the Renaissance paradigm of the Madonna and Child, ‘Mother and Son’ (2015) substitutes textures. What is to the viewer a game of logic and narrative may not necessarily be what an artist Mary with an African – a powerful and aesthetic people Wang never came across in her figure drawing deploys; the path that Wang pursues is a third dimension beyond ‘good painting’ and ‘bad painting’: classes at the institute. To an urban mother living in a society where maternal facilities are scarce and absurdism disguised in classical techniques and images. At first glance, they translate a sense of stasis breastfeeding in public is a taboo, the visceral and open intimacy between a tribal mother and her child and order, yet reveal a plentitude of self-contradictions upon closer inspection. To Wang, everyday life is an inviting mystique. and the canvas are both metaphors for an open field: “I think I am correct in saying that one of my working methods is similar to that of an anthropologist. Like him or her, I engage in on-the-spot investigation. The On the occasion of the Luo Zhongli Fellowship Ten Years Review Exhibition in 2015, Wang presented ‘The difference between us, though is that I do not need to leave China and live in a different place with an Archives’ (2013), which validated an anthropological cardinal point of artistic creation beyond classical unknown culture and nation for an extended period of time. I can investigate through travelling as well as painting history. “‘The Archives’ came afer ‘Standing Wave’. Whilst in America, a museum tour prompted learning from pictures and words found on the Internet and in books. I can then combine these findings my interest in the selection, presentation and reading of anthropological objects. Equally compelling with elements from my daily life, which is interesting enough, I think. I believe that the traces and details were the anonymous faces I saw back in Hangzhou’s supermarkets and neighbourhoods. I wondered if of daily life are as central to the system of human culture as the original social tools, ornamentations and their fleeting smiles, suspended in a single moment, were indeed hinting at some riveting narrative as architectural styles researched by anthropologists. Most important is the relationship between these the ‘eternal smiles’ in the museum did.” This perfectly instantiates the distinction between art’s subject traces and details, which can be traced meaningfully in time and space, where time refers to the past and and the work itself: the history of the museum is the incorporation of events or subjects into the narrative now, and space refers to the here and elsewhere.”[7] of art history at the heart of anthropology, whilst corresponding the aesthetic values of such events or objects with their creators, viewers and consumers. Unlike the museum, which is focused on expanding its collection, anthropology sees art as a system of symbols and examines, using a structuralist approach, the coding of images and how it creates meaning for their creators as well as consumers. The reconfiguration of classical museography as such becomes a constant in ‘The Archives’ and the works that have followed. Not only does Wang replace the Greco-Roman, Renaissance and Netherlandish bodies with that of the aboriginal and the coloured, but she also daringly incorporates caricatures of the anti-aesthetic: middle- aged women’s smiles, fruits, cheap jewellery, exaggerated wigs, imitated chandeliers and rusted railings, amongst others. Her enthusiasm for the everyday is untethered by the Internet’s virtual reality; out of spontaneity, she would set off to stroll around in her native Hangzhou with friends and, upon finding a [1] Liu, Qian. (2015). “Wang Zhibo: In Search of Life’s Fragmented Encounter with Faraway Places.” Luo scene of interest, create an outdoor studio to capture the moment with the aim to elevate its ambience Zhongli Fellowship 10th Anniversary Interview Series. Artron. http://news.artron.net/20151126/n795846. and aesthetic exposure. Manifested in her numbered watercolour series (2012) are the unexpected html findings of such expeditions. Returning to her studio, she does not approach the canvas right away, but [2 ]Heidenreich, Stefan. “Freeportism as Style and Ideology: Post-Internet and Speculative Realism, Part II.” rather, sits at her computer and looks through the various images collected from the Internet. The hard e-flux Journal #73. http://www.e-flux.com/journal/freeportism-as-style-and-ideology-post-internet- drive does not make any differentiation between the pictures collected online and in reality, but this and-speculative-realism-part-ii/ equality in power is, perhaps, a mirage at best. [3] Liu, loc. cit. [4] Hill, Katie. (2013). “The Elegiac Parkscapes of Wang Zhibo.” Wang Zhibo: Standing Wave. 2013. Hong In ‘Overtone’ (2012), the foliage’s astute exposure, perspective and shapes in juxtaposition with the Kong: Edouard Malingue Gallery. 43. muddled foreground hint at a certain composition that Wang would retain in her later work, which pertains [5] ibid. to a careful arrangement of nuanced crudeness and subtlety: as though the artist, having perfected the [6] Liu, loc. cit. depiciona favoured subject, was roused from her obsession with details, thus put all efforts on pause. In [7] Carter, Curtis L. (2013). “Standing Wave.” Wang Zhibo: Standing Wave. 2013. Hong Kong: Edouard the new work ‘Untitled (Still Life)’ (2016), two indistinct Eskimos (perhaps, or perhaps not) lean against Malingue Gallery. 13. 䖔笩窄儗➿㣔溫涸➃㷸㹻 詍䕧藥衼

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⿺䎃涸♧禹⴩倝⡲⚥䧭捀♧⦐䌢ꆀկ♶⫦ <> 䨾㹁纏涸⦐넒Ⱖ㣔颭莄欰⥡⢵莄侅肫搁ꡠ➭㸐㸤Ⰼ㖑栬用倴⟣⡦㢪歲ꡠ⤙կ 㖈鸎酭暟鄄瘝ず 䋞茢繏꼛䒭涸ծ俒谀䗁莇䒭涸ծ㽲䗞貼殥崣䒭涸䕎넒鄄㣐ꆀ縨䳕䧭㕼衼⿺剣蒀➃珏涸魧넒桬⛓⽇刿聒 倴⾲⢵歋歑䚍涯➃谀遮㹻䨾⚺㼫涸㣔䩞⡙縨㥵卓铝厤厤厤ㄤ➭涸䞔➃瘝佦✲⯎倉㖈歑䚍⚥䗱⚺纏 搁䗻䤘㖑㼞㣐㱘涸䗎疭ծ䚻影涸宐卓ծ䐢⭆涸棟砠ծ钗䓹涸⧺녊ծ㿋㻠涸じ教ծ欰ꗄ涸奌勍瘝搁㻣繠⭆⧩ 涸植➿谀遮〷侃✲殹⚥齡랂䖔笩窄儗➿涸㥎䚍谀遮㹻㖈莄暟涸㼩鑨ㄤ畹飓⚥僽や剣衼莄歑䚍谀遮 ⛓暟伿Ⰶ殥⚥կ
㥟㼩傈䌢✲暟涸㋐䠥⚛♶「笩窄贠亻⚆歲涸ꣳⵖ莇⛓䨾荛剚騥♳♧鰙灶莌

㼭䊼䌞 㹻䎂瘝欨荛刿㣐涸⮚⹳ャ嫢鋶涸欰崞䖃䖃鄄钡捀㣖麔榹烱㻜㖈罜搁岁䥰㼩䧴贕椚齡❈⧿㣐谀遮㹻 ♳䎘⡙剦⿼䩳衼湱堤ⵌ匆䊜涸㣐遳㼭䋀♳䰾諳կ㖈涮植荈䊹䠭莇馰涸✲暟⛓䖔⿶捀㸐⦛䩧♳胜兞 涸䕎罜♳㉏겗搬罜♧⡙嫢鋶涸傈䌢⽿僽䕎罜♳㷸涸䙼罌䨾♶격鍹⿺涸䊨⡲ㄤ㷛㶩僽欰崞涸Ⰾ噱կ 䋒斉鸣ⴀ䲿⼮〢Ⱙ孴孧ㄤ㻣繠㿂䚍涸⯕箁⚛㼞㜥兞䬝伡䧭撑晙կ㥟㖈䎃ⶽ⡲涸♧禹⴩⟄侷㶶ㄐ 䧮錏䖤㥟涸ⴀ欰䖎㥩涸䎂邂✫䧮涸欰崞կ䧮⾲⢵㣐鿈ⴔ儗꟦鿪崞涸嫱鯱䕎罜♳կ䖰㷛㶩涸㽶晙ծ㥗磋 ぜ涸㼭䌴殥⡲㽠僽鸎珏䰾遳遤⹛㖈秶劥♳涸넒植կ䖰欰崞ㄤ㣐遳㔐ⵌ䊨⡲㹔⚥涸桬⛓⽇⚛尝剣꼛 ㄤ䩧氋蕐涸㻜㖈歲ⴀ⢵ⱄ♧걧䩟鹍笩窄䧴罏俒㶶㕭晙⚆歲剚剣㣼㦪涸暟椚隶⻊儗ⵠ갾䝎涸儗ⵠ㖈ⶽ ♳饥ぢ殥䋒罜僽㖈ꨵ舠⵸㗂♴缺溏㖈笩窄♳佐꧋涸ぐ珏ぐ垺涸㕭晙稇勞Ղ⢵荈笩窄涸㕭⫸ㄤ》荈 ⡲麔玐⚥刿⸈걽籖涸涮欰կ䧮錏䖤刿㥩梖✫կ嫱㥵䧮㖈贕椚麵黆涸攧䌞宐卓涸㉏겗植㻜⚥䧮㽠꨽銳⿡ 植㻜涸㕭晙㖈ꨵ舠炽湎⚥涸㖑⡙㸤Ⰼ僽䎂瘝涸♶麔鸎珏䎂瘝䖎〳腊僽♧珏⧺韌կ 贕㖈影䌞涸⥂䭯䚻影涸匆䊜馄䋑捀㥟顠♧䩧껺誥կ搬䖔⨞✫嫢鋶⛲剚㼩鄄♧湬鄄椚鍒ㄤꡪꅻ涸㣔䚍 <> ㄤ椚䚍剚剣暵ⴽ涸䠭鍹鸎❈䥰鑪鿪剚ⴀ植㖈殥꬗⚥䧮⛲㥩㣼剚⟄➊랂倰䒭ⴀ植կ ♧⡙「麔넞 㖈䎃ⶽ⡲涸շꤙ갉ո酭⵸兞蔄㠢奌勍礵焷涸⯕箁ծ鷳鋕ㄤ鸣㘗莄䖔兞㣐埠♴倰瑲㥵Ⱖ⢵涸䎂㝣㽠 瘝侅肫涸嫢鋶殹搬濼麤㥵⡦椚䚍⻊㖑钡陏⚆歲⚛鍒寸欰崞⚥涸㻜ꥸ㉏겗搬罜欰肫涸麔玐⿺Ⱖ䖔涸恟 䊺竤冝爙✫桬⛓⽇ⵠ䠑⥂殆涸殥꬗獘䎸鸎珏獘䎸ꤑ✫圓㕭♳鋊ⷔ⚺銳僽鸑麔㼩稣鿈贕椚涸磦毜ㄤ Ꟁ乀肫ꥢ媯⽿♶⨢㖑䮋䨞ㄤꅾ倝㝕鸣衼嫢鋶涸넒腊ծ兰⸂ㄤ荈䧮钡濼կ⚛ꬋ僽笩窄涸넞䏞涮麧⟁桬⛓ 稣築玐䏞涸䊵殯⢵곏爙涸䕱䖁僽♧⡙劥⢵Ⰼ牟顐岤㖑彋⪓㼞嬁녊ծ籽暟ծ⯕箁ծ䕎넒瘝殥꬗稣眎粭殥 ⽇㼩灶烱ծꐫ縨涸㕭⫸帿帿衼鶴罜僽谀遮㹻ㄤ嫢鋶涸꧱ꅾ魧⟧鶖⢪㥟㖈鸎珏烱晙⻊涸欰崞⚥鸑麔粭 荛湈㊤湈繠涸谀遮㹻⽿㖈殥㸤荈䊹⨊䠥涸겗勞ㄤ㼩韌⛓䖔瑲搬佞唲✫⸖⸂կ倝⡲⚥殥䌴剒㼭涸շ 殥㼥宠贠圓ㄤ㻜㖈ծ植㻜ㄤ椚䟝ծ䊨⡲ㄤ欰崞꟦刿⸈ⴗ㻜剣⸂涸ㄤ鍒կ⟄鸎垺涸錭䏞⿡椚鍒桬⛓⽇㖈⦐ 搁겗ꬅ暟ո♳Ⰾ⦐䠥倛㛇䷑➃⛲〳腊♶僽⦭㗂㖈晘㠗♳꬗鿈垷祍♶幡䊩鼸涸♧⡙醙衼淼嬁䧴 㾝꽏岚⛓䖔㖈ⶽ⡲♳涸鱲隶㽠ざ䞔ざ椚㢴✫կ勞碛屘뛥ㄤ魧넒鹍꽏✫㥟涸ⶽ⡲㥟剎竤䱹「涸禹 罏僽➃鸣淼嬁⡃㔔㺯ⲇ罜蹻簮衼魧넒〸鼸涸♧⡙帜㹁㖑䭭衼♧咽䒴㢪㤛涸颶㖑⡃倴馄䋑酭涸 窠⻊㷸ꤎ侅肫ㄤ⫄窠粭殥椚锸㖈植㻜꬗⵸隶䖤搁岁鸭顐✫կ 㽲륋ꧽ嬁丳կ
㼩桬⛓⽇罜鎊粭殥䠥倛㛇䷑➃涸倝㣼䠭ㄤ䋞劅㖈殥꬗♳鑑뀿淼嬁ㄤ㽲륋颶㖑㼩嫱涸ꅿ 䗱黆嫱ⶽ鸣♧⦐㸤繠䎂邂涸✳笞殥꬗ꅾ銳կ齄鰿莄侃✲僽錙罏涸麈䨠⽿⚛♶♧㹁僽ⶽ⡲罏涸麤Ⱘ <> 桬⛓⽇㖈䎃⵸䖔殥✫㣐ꆀ鰉姐䒭 涸鿪䋑㕧卌鸎❈㕧卌僽䖔➃䒭涸殥꬗ꬅ랾ծ㓃聐ծ⚥䚍 桬⛓⽇㼥宠涸僽㖈㥩殥ㄤ㡏殥⛓㢪涸痦♲哬麤騟㼞虡钱ꦠ诡㖈頗⡃〢Ⱙ涸䪮岁ㄤ㕭⫸⛓䖔殥 <> <> ⻊㛚㸛衼㓃呔涸⫄窠屘殥䪮岁 鄄 钡 捀 ♶ ⫸ ♧ ⡙ 㥎 谀 遮 㹻 涸 ⶽ ⡲  կ桬 ⛓ ⽇ 欽 㥟 涸 欰 崞 兰 䢴 㔐 ꬗⛕♧溏⢵僽琼㹁涸ծ獘䎸❁搬涸馊稣溏⽿馊涮濨湽涰ⴀՂ罜殥䋒ㄤ欰崞鿪僽桬⛓⽇涸歊ꅿ䧮 䥰✫鸎ꡠ倴㥎䚍谀遮㹻涸劥颶⚺纏錙럊Ⱖ㻜僽㔔捀欰崞䖎䎂ꬅ溏饰⢵嫦㣔鿪䊵♶㢴嫦㣔傈㶩鼨 湱⥌䧮⡲殥涸Ⱖ⚥♧珏倰䒭莄➃㷸罏涸灇瑕倰岁噱捀湱⡃齡㽠僽㻜㖑罌㻋կ㈔♧♶ず⛓贕䧮♶欽 僽鸎랂麔⡎僽⿶尝剣➊랂匌銯嫱欰崞刿醲꧸✫䨾剣❀㄂꧸꤫鿪鄄䬀䎂㖈酭꬗կ䧮䋞劅殥㽠⫸欰崞♧ Ꟁ劍㾀⡞㖈♧❈꣫欰涸俒⻊⿺㕜㹻酭կ䧮〳⟄㔋贕黛麈⿶〳㖈✽耡笩♳⿺剅硂⚥嶍桃㕭⫸莄俒㶶尝 垺鸎僽䧮涸湡垥կ♶⫸㥎谀遮㹻鸎⦐㉏겗䧮♶㥩㔐瘷䧮㋐姸楂熋⨞⡲ㅷ鸎⟝✲⯥搬䖔ⶍ㥩䧮僽⦐ 剣䕧갠ⵌ荈䊹涸傈䌢欰崞䖰⚥涮植荈䊹傈䌢欰崞涸珏珏汚騋⿺稣眎⾲⢵傍䊺㶸㖈倴➃俒⻊禹窠 㥎涸㄄㄄կ籎錏䖤谀遮㥩梖⛓贕㖈倴㸐涸搁岁歲㹁㸐捀➃涸兰䢴ㄤ馰㄂䪪ⵌ✫箣尣㖑䌞䪪ⵌㄤ植 ⛓⚥㽠⫸⾲㨤涸爢❜䊨Ⱘ⿺酤귆ㅷ⿶䧴僽➃㷸㹻䨾䱲鎣涸䒊眠괏呔կ剒ꡠ꒳涸僽鸎❈汚騋⿺稣 㻜ㄤ䎂Ⱏ贕涸倰䒭կ㖈䎃饰ⶽ⡲♧禹⴩⡲ㅷ⚥ぐ珏ぐ垺涸㥎䚍䕎韌ծ魧넒ծ䐢⭆欰崞欽ㅷㄤ傈䌢 眎⛓꟦涸䗎㦪ꡠ⤙〳⟄竤儗꟦⿺瑟꟦涸佖隶罜刿Ⱘ䠑纏կ儗꟦僽䭷麔⿡⿺植㖈罜瑟꟦⵱僽鸎酭莄ⴽ <> 烱晙ⴀ植㖈✫桬⛓⽇涸殥꬗♳邍꬗♳溏⢵㥟⡃⛖隶䖤㥎䚍⻊✫կ 贕կ 搬罜鸎⡙䧭捀✫嫢鋶涸⚺㮒⽿♶㸝ⴔ㖑㖈殥꬗♳䫏㼘衼ぐ珏莄植㻜欰崞搁ꡠ涸ծ麵黆罜꣫欰涸➭ 罏⚆歲Ղ㕼衼鿈衅涸莺骪ծ㹻䏭特爦ծ嫢鋶㇄肫㷛㶩涸殥꬗蜒ぜⰦ㦪涸ꬅ暟ծ걧⫸ծ㥎䚍醗넒ㄤ⽇暟






































긬꤫鏤㖑椚⡙縨♶僈涸攧䌞嗃暟ㄤ殯㕜괏兞շ嫢莄㶩ո⿮撑✫俒谀䗁莇儗劍竤Ⱙ涸䫵㶩 <> 翰嫢圓㕭⡎翰嫢翰㶩涸魧넒⽿鄄㖑鱲䳕䧭✫ꬋ崍➃넒կ鸎❈⯎怐⸂ꆀㄤ繠䠭涸殯偛➃넒䜄䜄僽桬⛓ ⷠ⧈շ桬⛓⽇㼥䪪麵黆✲暟ㄤ植㻜✲暟⛓꟦烱晙䚍涸湱麁ո繏⚥用栀㷸ꆄ⼧鹊䎃禹⴩䱰鏞꧈僅谀http://news.artron.net/20151126/n795846.html ⽇㖈繠遮㷸ꤎ涸➃넒㻨欰铭⚥尝剣堤剚䱹鍹ⵌ涸Ղ〳⟄䟝鋅㖈♧⦐嫢㵥ⰖⰟ鏤倶㓃ꅾ緃⛘⽿⿶㼞 遮笩㼠珳[2]Stefan Heidenreich “Freeportism as Style and Ideology: Post-Internet and Speculative Realism I” ⰖꟚ㇄✌鋕⡲犜䗻涸爢剚酭鿈衅嫢鋶ㄤ㥟㷛㶩涸魧넒꟦涸鸎珏鋶㺙ծ劥腊罜荈歋涸ꡠ⤙㼩嫦♧⡙欰  e-flux Journal #73 http://www.e- flux.com/ 荈 崞㖈鿪䋑⚛剣麔㇄✌竤뀿涸嫢鋶鿪剣衼牟猽涸エ䒸⸂կ journal/freeportism-as-style-and-ideology-post-internet-and-speculative-realism-part-ii/歋度⚺纏⡲捀괏呔ㄤ䠑陏䕎䡿䖔笩窄ㄤ䙼鳹㻜㖈锸
 , 䒸俒捀瘗罏 桬⛓⽇㖈繏⚥用栀㷸ꆄ⼧鹊䎃鼜锝㾝♳㾝ⴀ✫䎃涸շ墂呩긬ո䖰鸎䌴⡲ㅷꟚ㨤㥟焷钡✫〢Ⱙ粭 荈陼[3] 殥〷⛓㢪涸➃㷸ⶽ⡲佅럊կ
շ墂呩긬ո僽䧮㖈շ꽏岚ո⛓䖔涸⡲ㅷ殹ⴲ涸ⴀ涮럊僽䧮㖈繠㕜鸔⽇暟긬
ずJ <> P39 2013 纈儗䖤ⵌ涸䟝岁㥩㣼鸎❈➿邍➃俒僈涸暟ㅷ僽㥵⡦鄄鼆乵鄄ッ植ㄤ鄄椚鍒涸罜䧮㖈匆䊜鸔馄䋑
⳯裥

䋞晋⽇㡦շ桬⛓⽇涸鰉姐䒭㕧卌兞蒀ո桬⛓⽇꽏岚㾝錓殥ⱁ  䎃꼛ⲳ殥䐤ⴀ晜 <> ㄤ㼭⼥儗麁鋅涸㣐〈㣐㱘䧴罏ず룱➃涸聰⫸僽やⰨ剣ず瘝涸⸂ꆀկ➭䧴㥟茀♳鸎♧ⵠ涸䗎疭ㄤ⽇暟긬 ず♳ <> 酭宕䚻涸䗎疭僽や㶸㖈衼♧珏鶴➃涸黨麁կ
桬⛓⽇㖈鸎酭♧ꆚ鋅過涸䭷ⴀ✫谀遮㼩韌ㄤ谀遮⡲ㅷ ずJ <> P9 2013 涸⼥ⴔ⽇暟긬涸娛〷㽠僽㼞✲暟䧴㼩韌秜Ⰶ➃⚥䗱涸谀遮〷侃鶣殹⚥ ⚛㼞暟ㅷ䧴㼩韌涸㻣繠⭆⧩ 叕裥倛
-⽓暵շ䊭嵠넞⟱涸ꬅ姺ո桬⛓⽇꽏岚㾝錓殥ⱁ
䎃꼛ⲳ殥䐤ⴀ晜 Installation View

酤縨植㜥 Rise, Fall, 2016 , 2016 շ♳⼮
꣭衅ո Oil and acrylic on cavas

䋕䋒꬗
⚋掜
屘殥190 x 290 cm Swaddling, 2016 , 2016 鈰里 Oil on linen

210❏띿屘
殥䋒 x 170 cm Untitled (Still Life), 2016 , 2016 搁겗
ꬅ暟 Oil on linen

40❏띿屘
殥䋒 x 40 cm Prayer, 2016 , 2016 父狸 Oil on linen

❏띿屘
殥䋒115 x 80 cm Last Man, 2015 , 2015 剒䖔涸➃ Oil on linen

105❏띿屘
殥䋒 x 110 cm Mother and Son, 2015
2015 嫢莄㶩

Oil on canvas

屘殥 165 x 117 cm Standing Wave

꽏岚 The Armory Show, Edouard Malingue Gallery, Booth 832, Pier 94, New York , , 832 , 94
鮪唒䏨谀⽇剚 꼛ⲳ殥䐤 㾝⡙ 贪焺걧 秢秉 22.02.2013 - 26.02.2013 Edouard Malingue Gallery is pleased to present at The Armory Show 2013 a solo exhibition of Wang Zhi- Through her textural painterly technique and selection of subtle tones, Wang imbues her juxtapositions bo (b. 1981), a highly talented contemporary female Chinese oil painter who lives in Hangzhou, China. The of equal but opposite cultural forces with a running sense of nostalgia, beauty and darkness. Devoid of exhibition marks Wang Zhibo’s rst show in New York and introduces Edouard Malingue Gallery and its human presence, the spaces at rst appear common, yet, as the viewer is drawn in by their private sphere, dedication to exhibiting established as well as emerging artists with a multicultural perspective. it emerges that each painting possesses an illogical geography. Wang’s paintings therefore blend the familiar with the imaginary, and through their intricacy, remind us to slow down and take a more minute Since its inception in 2010, Edouard Malingue Gallery has used its OMA-designed premises in Central, and up-close view of China, “an external image, that may otherwise be ignored”. (Dr. Katie Hill, The Elegiac Hong Kong, to bring solo exhibitions of internationally renowned artists such as Pablo Picasso, Zhang Parkscapes of Wang Zhibo, 2013). Huan, Laurent Grasso and Callum Innes to Asia’s rising cultural hub. Also at the heart of Edouard Ma- lingue Gallery’s artistic program lies an aim to combine these high pro le shows with solo exhibitions by A recent graduate from the China Academy of Art Oil Painting Department, Wang Zhibo was awarded the selected fresh global talents, such as Fabien Merelle and Yuan Yuan. Edouard Malingue Gallery thus seeks prestigious national Luo Zhongli Scholarship in 2008 for her sensitive and evocative Garden paintings. to provide an international platform for artists from around the world in Hong Kong as well as abroad. Zhibo’s work has since received nation-wide attention and has been exhibited at various institutions across China, including the Chong Qing Art Museum, the Today Art Museum in Beijing and the Museum Wang Zhibo’s solo exhibition entitled ‘Standing Wave’ features a series of thirteen new works, which of Contemporary Art in Taipei. capture that moment of stillness when two waves of equal but opposite forces meet (Dr. Curtis Carter, Standing Wave, 2013). This split moment is recreated by the careful depiction of external spaces, which similar to an anthropologist, Wang has observed in great detail throughout her daily life. In this series, Wang focuses on the cacophony created by renaissance-esque park fountains and new hotel lobbies being built in historical Western styles in contrastingly Chinese locations. 꼛ⲳ殥䐤㼞倴秢秉䎃䏞谀遮渿✲չ鮪唒䏨谀⽇剚պ "SNPSZ
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135.5屘殥 x 155.5 cm Artificial Twilight, 2012 , 2012 ➃鸣랓僊

Oil on canvas

屘殥 215 x 180 cm Untitled (Festival), 2012 ( ), 2012 搁겗
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Oil on canvas

屘殥 138 x 180 cm Three Setbacks, 2012 2012 ♲⦐䮲䫔

Oil on canvas

屘殥 117 x 84.5 cm Untitled (Springs), 2012 ( ), 2012 搁겗
屮

Oil on canvas

屘殥 112.5 x 150 cm Untitled (Springs II), 2012 ( II), 2012 搁겗
屮 Oil on canvas

151屘殥 x 180 cm We just love beautiful views, 2012 , 2012 䧮⦛〫僽䠥繠兞

Oil on canvas

屘殥
80 x 96 cm Stones, 2012 , 2012 瀖걧

Oil on canvas

屘殥 200 x 250 cm Red Fault, 2012 , 2012 秋蒀佦ꥻ Oil on canvas

130屘殥 x 92 cm Bases, 2012 , 2012 㛇䏠

Oil on canvas

屘殥 150 x 200 cm Spectacle, 2012 , 2012 兞錙

Oil on canvas

屘殥 150 x 180 cm Green Fault, 2012 , 2012 笂蒀佦ꥻ

Oil on canvas

屘殥 157 x 180 cm Cold Pastoral, 2012 , 2012 ⲇ涸歊㕧鑗

Oil on canvas

屘殥 89 x 117 cm Overtone, 2012 , 2012 ꤙ갉

Oil on canvas

屘殥 84.5 x 121 cm Other Works

Ⱖ➮⡲ㅷ Hocus Pocus, 2015 2015 꿊㽷

Oil on canvas

屘殥 135 x 180 cm Time Traveler, 2015 2015 儗꟦假遤罏

Oil on canvas

屘殥 135 x 500 cm Mead’s Dilemma, 2015 , 2015 碛䗞涸㔮䞨

Oil on canvas

屘殥 150 x 190 cm The Archives, 2013 , 2013 墂呩긬

Oil on linen

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屘殥 125 x 190 cm Tristes Tropiques II, 2012-2015 II, 2012-2015 䣮뇓涸攧䌞

Oil on canvas

屘殥 90 x 230 cm Half the Sky, 2012-2015 2012-2015 ⼱鼸㣔

Oil on canvas

屘殥 107 x 160 cm Tristes Tropiques III, 2012-2015 III, 2012-2015 䣮뇓涸攧䌞

Oil on canvas

屘殥 90 x 230 cm Four and two thirds, 2012-2015 2012-2015 㔋⿶♲ⴔ⛓✳

Oil on linen

❏띿䋒
屘殥 187 x 118 cm Garden, 2013 2013 蔄㕧

Oil on linen

❏띿䋒
屘殥 150 x 200 cm Untitled, 2012 , 2012 搁겗

Acrylic on canvas

❏⯘⸂
殥䋒 41 x 29 cm Jungle, 2012 , 2012 〠卌 Oil on canvas

157 x 180屘殥 cm Tristes Tropioues, 2011 , 2011 䣮뇓涸攧䌞 Oil on canvas

130 x 160屘殥 cm A mystery that cannot be explained I, 2011 I, 2011 荈搬搁岁鍒ꅻ涸閰
Oil on canvas

62 x 110屘殥 cm Wang Zhibo’s Narrative of the Detail By Valentina Locatelli

Wang Zhibo belongs to a generation of young artists demonstrating a strong interest in working with more traditional artistic genres and techniques. Born in 1981 in Wenzhou, Zhejiang Province, Wang draws and paints in a realist manner, indebted to Soviet socialist realism as much as it is to the Chinese tradition of the gongbi court paintings,[1] whilst equally deriving inspiration from the Italian Renaissance, early French Impressionism and American New Realism, as well as from more recent international artistic trends.[2] For Wang, like some of her peers, the real artistic challenge does not reside in inventing a new form of art making – in her opinion “all types of artistic medium are aging together” – but rather in finding a contemporary manner of accessing drawing and painting ( her preferred tools), which are emotionally and culturally charged mediums. She achieves this goal through self-reflection, balancing her “Chineseness” with the impulses of Western art brought through by globalisation. Yet, if the scrutiny of her own practice is key to understanding Wang’s work, her identity as a young Chinese woman, who is part of a boundless and expanding human network, is as essential.

Chinese painting is said to have been invented by a woman, Guo Shou, the sister of the emperor Sun.[3] Despite these noble and legendary roots, women artists have been almost entirely unaccounted for or, at best, underrepresented in the history of Chinese art from the times of dynastic rule till the last decades of the 20th century. Afer the establishment of the People’s Republic of China in 1949 until the end of the Mao Zedong period (1976), female identity was overlooked, buried behind the ideals of social equality in a system that accorded women the same rights as men, but also requested from them the same amount of work and social responsibilities, denying their physical and psychological differences. Chinese women were expected to be holding up “half the sky”. The cost they paid for this supposed social equality was the loss of (and alienation from) their true gender identity.

[1] I am grateful to Wang Zhibo for key inputs and insights into her work, which she shared with me upon the occasion of an interview conducted over email between November and December 2016. If not indicated otherwise, all quotes by Wang reported in this article refer to this exchange. Gongbi is a traditional technique of realist Chinese painting characterised by the use of precise and meticulously applied brushstrokes used to render details with maximal precision. [2] When asked which artists she would absolutely want to include in her art collection if she could create one, Wang named Thomas Schütte and Maria Lassnig. She admires them for their ability to express through their work both themselves and the development of art history. [3] Gou Shou is mentioned as the “Ancestor of painting” and documented in a number of official histor ical accounts, s uch as Sh iben zuopian, Huashi huiyao, Shuchen, and Hanshu gujin renbiao, cfr. Jia Fangzhou, “Chinese Women Artists of the 20t h Century”, in Chris Werner, Qui Ping and Marianne Pitzen, eds, Die Hälfe des Himmels. Chinesische Künstlerinne n der Gegenwart / Half of the Sky. Contemporary Chinese Women Artists, exh. cat., Frauenmuseum Bonn, 1998–99 (Publishing House Frauen Museum, Bonn 1998), pp. 160–63, here p. 160. Under such challenging circumstances it is not surprising that painting and sculpture, the so-called “high depopulated and convey a sense of stillness generated by the tension of opposing forces.[9] Since 2015 arts”, were not practiced by women until the end of the 1980s and 1990s.[4] Even the 85 New Wave[5] was the human figure and fragments of daily life have conversely emerged as the main protagonists of the clearly male dominated and driven by the political agenda that informed the democratic student artist’s work. For the exhibition There is a Place with Four Suns in the Sky – Red, White, Blue and Yellow at movement. Afer the Tiananmen Square crackdown of 1989 this phase of idealism and pluralism came Edouard Malingue Gallery in Hong Kong[10] Wang presented 12 works which reflect on the extension of to an abrupt end. It was followed by a tendency to withdraw from politics and to explore individuality space and time. This enigmatic title was borrowed from Carl Sagan’s 1973 book The Cosmic Connection: and personal daily experiences.[6] It is in the wave of this more intimate approach to art making that An Extraterrestrial Perspective. In the book, the corresponding passage ends with the author’s pondering Chinese women artists began to reflect on gender issues or simply to look at the world from their female regards the possibility of another place existing beyond our universe.[11] What universe is Wang referring standpoint, using a language capable of representing their nature. This meant a rediscovery of the body, to in her work? What is our universe? Are we all not trapped in our own universes, wishing to escape from of topics such as sexuality and human relations. In China, women artists started to orient their attention them through knowledge of the “other”? Is this not what we are looking for when we read a book, surf towards alternative or more unconventional art forms, less tainted by the language of patriarchy and the Internet, or travel? Other places, other people, other traditions? Speaking of the works she created in power. More recently, however, some of them have returned to painting[7] as a medium capable of preparation for this exhibition, Wang pointed out: “I want to expand space and time as much as possible renovating itself and rejecting its traditional heroic meaning. Wang Zhibo has embraced this approach. [...] zoom out as much as possible. Things that are far away could be closely related to us; things that are Even if she declares not to be consciously seeking to investigate the question of gender and identity physically close could be unfamiliar, that is why I want to mingle time and space in my work.”[12] in her work, she acknowledges that “this is something that comes about naturally.” As she observes: “when thinking about the structure of a piece, perhaps I am relatively emotional, but this is my trait - it’s A graduate from the China Academy of Art Oil Painting Department in Hangzhou, Wang has committed not something that I want to escape. There aren’t any topics that I insist on talking about because I’m a herself to the “little” rather than the “grand” narratives. Her landscapes, still-lifes and figurative works female artist. And there also aren’t any topics that I can’t talk about because I’m a female artist.” Wang are painted from photographs or subjects in front of her. They are also collages of her memories. And feels “lucky” that “gender equality has been implemented” in contemporary China. Rather than focusing if the sources of her inspiration are both the Internet, films and magazines or real objects, places and on social issues, she is free to address ideas of equality and cooperation that are transversal to gender, people, the sense of beauty she breathes into them springs directly out of her imagination, enhanced by geography and time from a poetic perspective and without any political agenda. her savvy use of colours and chiaroscuro effects. One look at Wang’s paintings is enough to recognise that this talented artist has made drafsmanship and technical skills the departing point for a work that On the occasion of the 2013 New York Armory Show Wang presented 13 paintings featuring unexpected is as fresh and contemporary as it is indebted to history and tradition. She has specialised in an ironic encounters between natural and architectural environments.[8] These imaginary spaces are completely and anti-heroic, yet sublime and disturbing, representation of modern China and its ambivalences.[13] Out of her canvases emanates a deep respect for the traditions of the East and the West. At the same time, they demonstrate the refreshing ability to laugh at their idiosyncrasies. In Wang’s world Mickey Mouse, the icon of American pop culture, does not stand out as an odd element among a presentation of archaeological items which are maybe evocative of the five continents (‘Ecstasy’, 2016 ). Why should it?

[4]On the development of art by women during the first two decades afer the end of the People’s Republic of China see Andreas Schmid, “The great break up. Development and tendencies 1978–1988”, in ibid., pp. 174–78, here p. 174. [5]The 85 New Wave was a nationwide avant-garde movement that emerged in China in the mid-1980s as a result of the free circulation of information and the discussion generated by the liberal ideas penetrating [9]Wang Zhibo in Curtis L. Carter, “Standing Wave”, in ibid. , pp. 14–17, here p. 14, p. 15. the country from different sources. [10]The show was on view in Hong Kong between August 24 and September 14, 2016. [6]Schmid, 1998, as note 4, p. 176. [11]There are, perhaps, places outside of our universe.”, Carl S agan, Cosmic Connection: An Extraterres [7]This inversion tendency is not only true for China. On this regard see Linda Nochlin, “Women Artists Then trial Perspective ( Cambridge University Press, 1973). and Now: Painting, Sculpture, and the Image of the Self”, in Maura Reilly and Nochlin, Global Feminisms. [12]Wang Zhibo, from an interview realized on the occasion of the exhibition W ang Zhibo: There is a Place New Directions in Contemporary Art, exh. cat., Brooklyn Museum and Davis Museum and Cultural Center, with Four Suns in the Sky – Red, White, Blue and Yellow (Edouard Malingue Gallery, 2016), video, 4:00 Wellesley College, 2007 (Merrell, London, 2007), pp. 47-69, here p. 48. min. [8]See Wang Zhibo. Standing Wave, exh. cat., Edouard Malingue Gallery, Hong Kong und New York, 2013 [13]On this aspect see Luise Guest, “Wang Zhibo. Dystopian Visions”, in Half the Sky: Conversations with (Edouard Malingue Gallery, Hong Kong, 2013). Women Artists in China (Piper Press, Dawes Point, N.S.W, 2016), pp. 128–132, here p. 128. Wang describes her practice as that of an anthropologist who does not need to carry out an “on-the- characterised by different ethnic traits and displayed in free standing glass and wooden cases similar to spot investigation”[14] but can rather learn from different sources and her daily life. As she explains: “I those encountered in ethnographic museums. What is at first sight an uncanny scene loses immediately believe that the traces and details of daily life are as central to the system of human culture as the original its threatening character when the viewer brings back his or her attention to each single detail of these social tools, ornamentations and architectural styles that are researched by anthropologists. The most painted heads and to the elegance of the painter’s brushwork. When asked if her work is a reflection important point is the relationship between these traces and details.”[15] Wang’s work is not just about on the topic of identity, Wang admits to not understanding what identity is and to even doubt it. The global influences. It is about the essence of universal human values and relations which she deploys in heads, bodies or objects she paints all have a story. Regardless of this, Wang investigates primarily their her narrative of the detail. shapes, colours and textures. A good example of this approach is her work ‘Duplex’ (2016), composed of a double-sided painting mounted on a freestanding pole anchored on the ground by three car parking In a work of art, certain minor details are in reality fundamental nuclei of meaning, capable of unveiling barrier elements made of black Chinese bluestone.[20] On one side of the canvas Wang painted the all kinds of information if only examined with the due attention.[16] In his alternative account of art portrait of a lamp she found in an Italian furniture store in China, an object that strongly reminded her of a history, Daniel Arasse distinguishes between two kinds of details, the particolare and the dettaglio. smiling face. By applying a process of anthropomorphic hybridisation she then proceeded to portray on Under the first label he refers to any element of an object, figure or landscape, that can be isolated from the verso of the canvas a woman’s head seen from the rear. In this structure, the pole and stones become the composition. In Wang’s work ‘Dancing is Better’ (2016), for instance, the pink slippers accidentally the body and feet of the new individual Wang has created. As she asks rhetorically: “Could you assure abandoned on the floor next to a group of barefooted dancing indigenous people belong to this category. that people are merely people, and objects merely objects?” The animated becomes inanimate and the They are insignificant and even trivial elements of simple, daily life to which Wang attracts our attention inanimate becomes animated. by displaying them apparently out of context. By doing so what she achieves is to confer them as much dignity as to the anthropological specimens (bones and skulls) and archaeological artifacts (fragments Objects taken from daily life are sources of inspiration for many artists. Wang’s figurative approach, of ancient Greek and Roman sculptures) that she scatters across her compositions. On the other hand, however, does not merely reside in telling the stories behind these objects. Her artistic sensibility leans the second category described by Arasse – the detail or dettaglio – could refer to any small area of a towards the research of a more sensorial presence of people, objects and places: “I’ve been interested painting that the painter or the viewer decides to focus his or her attention upon for the pure pleasure of in particular textures recently. A moment of visual movement: hot sweat dripping over the bronzed skin losing sight of the whole and the story told by this whole, opting rather to concentrate on an aesthetic and muscles of an athlete and drops of water sliding over a luxury car in a high-definition advertisement appreciation of a rich palette, a material brushstroke, or an unexpected texture. It is an invitation to come are visually homogenous. [...] I am very interested in the physical layers of a painting, what kind of impact closer to the canvas and lose oneself in it. It is in the playful combination of these two forms of detail, the the thickness of a painting has on the psychology of the viewer.”[21] Wang’s work is about “the history zooming in and out of one’s artistic gaze and one’s sense of accidental discovery, that resides the power of figures, shape and colour”[22], it is about both the detail-particolare and the detail-dettaglio, and the of Wang’s masterly executed paintings. Whether she paints a landscape, a portrait or a still life, it does surprising results achieved by their combination and intersection. not matter: “they are all objects”[17] in the hands of the artist.

It is precisely because “small details disclose more information than the whole”[18] that even human presence is analysed by Wang as a fragmented entity, reduced on her canvases to either a head, as in ‘Untitled (Jewellery)’ (2016), or a body, as in ‘We Leave That to the People who Wear Them’ (2016), as “face [20]Chinese Bluestone is a grey limestone. These car barrier elements are commonly used in China to and body disclose different information.”[19] Wang adopted this approach in ‘The Archives’ (2013) and prevent cars from parking where not allowed. ‘The Archives II’ (2014), for which she portrayed several collections of human heads [21]Wang Zhibo. [22]Wang Zhibo.

[14]Wang Zhibo in Carter, 2013, as note 9, p. 14. [15]Ibid., p. 14. [16]Cfr. Daniel Arasse, Le Détail. Pour une histoire rapprochée de la peinture, (Flammarion, Paris, 1992). [17]Wang Zhibo. [18]Wang Zhibo. [19]Wang Zhibo. 桬⛓⽇稣眎涸侃✲ 檲⧍裥㫪v峫⯘㝜ⵄ衼

<> 剣鸎垺♧䪠䎃鰋谀遮㹻➭⦛⣜莌㼩鯱捀⫄窠涸谀遮괏呔ㄤ邍植䩛岁䫵剣䓽捘涸攧䞔ㄤ莇馰桬⛓⽇ 恸㼞ꡠ岤럊鱲ぢ⚺崨⛓㢪䧴ꬋ⫄窠涸谀遮䕎䒭կ罜剒鵛♧❈㥎䚍谀遮㹻ꅾ倝㔐娞粭殥 ⚛ 㼞 ⛓ 鋕 捀 㽠僽Ⱖ⚥⛓♧կ桬⛓⽇䎃ⴀ欰倴嵄寐溁影䊜䋑կ㖈豣耡爢剚⚺纏植㻜⚺纏괏呔ㄤ⚥㕜⫄窠㹨䏭䊨 腊㣀荈䧮刿倝ㄤ䫻ⵖ荈魧䨾⺫ゎ涸⫄窠昿奙⭆⧩涸㯮➝կ桬⛓⽇⤑䫏魧倴鸎♧㻜驏կ⭽盗㥟邍爙荈䊹 <> 瘗ⷔ 涸擞ꤲㄤ䕧갠♴㥟涸粭殥⡲ㅷ⟄植㻜⚺纏捀呍䗱կず儗㥟⛲䖰䠑㣐ⵄ俒谀䗁莇儗劍涸粭殥ծ岁 ⚛♶剚剣䠑㖑㖈⡲ㅷ酭䱲瑕䚍ⴽㄤ魧⟧涸㉏겗⡎㥟䪬钡剣❈匌銯荈搬罜搬㖑ⴀ植✫կ呏亘㥟涸錙 <> 㕜傍劍⽪韌崣粭殥ծ繠㕜倝植㻜⚺纏粭殥ㄤ倝鵛涸㕜ꥸ谀遮괏惐 ⚥格䖤✫♶㼱꫘䠭կ㼩倴桬⛓⽇ㄤ㥟 㻋㖈圓䙼♧⟝⡲ㅷ涸穡圓儗䧮〳腊剚嫱鯱䞔筱⻊⡎鸎僽䧮涸㣔䚍Ղ䧮⚛♶䟝他膧鸎珏匌銯կ䧮 涸ず鰴谀遮㹻罜鎊谀遮ⶽ⡲涸溫姻䮋䨞⚛♶㖈倴涮䱡倝涸䕎䒭Ղ㖈㥟溏⢵⟣⡦䕎䒭涸谀遮㯮➝ ♶剚㔔捀荈䊹僽㥎䚍谀遮㹻罜㛚䭯䱲鎣厤♧⚺겗կず儗䧮⛲♶剚㔔捀荈䊹魧捀㥎䚍谀遮㹻涸魧⟧罜䬨 鿪㼞麔儗Ղ罜㖈倴欽殹➿涸倰岁鹍遤稇䲽ㄤ屘殥㥟刿捀㋐姸涸倰䒭ⶽ⡲⟄䱲程鸎❈㺕鎷衼䞔䠭 锒⟣⡦⚺겗կ桬⛓⽇錏䖤魧贕倴㻜驏䚍ⴽ䎂瘝涸殹➿⚥㕜僽♧⟝䎋麋涸✲կ㥟鼆乵♶⫦⫦ꡠ岤 ㄤ俒⻊涸谀遮㯮➝կ捀✫麧ⵌ鸎♧湡垥桬⛓⽇鷳麔♶倬涸荈䧮⿿䙼㖈荈魧涸⚥㕜䚍莄Ⰼ椕⻊䌞⢵ 倴爢剚㉏겗罜僽㖈他膧✫佟屛䠑㕭勲簃涸⵸䲿♴⟄鑗䠑涸鋕錭㖈䚍ⴽծ㖑椚ㄤ儗꟦涸䨔꬗⚥䱲鎣䎂 涸銯倰谀遮䲀⸂⛓꟦䪪㼥衼䎂邂կ搬罜捀✫腊㣀刿⸈帿ⵠ㖑椚鍒桬⛓⽇涸⡲ㅷ䧮⦛♶⫦銳㼩㥟涸㻜 瘝ㄤざ⡲涸錙䙁կ 驏㾝Ꟛ稣築涸錙㻋鼨䥰罌䣁ⵌ〥♧⦐ず垺ꡠ꒳涸ⴗⰆ럊Ղ桬⛓⽇⡲捀♧ぜ⚥㕜䎃鰋㥎䚍㖈鸎搁ꣳ Armory Show ⚂䭯糵仌䓹涸ꡠ⤙笩窄⚥涸魧⟧կ 㖈䎃秢秉鮪唒䏨谀⽇剚

♳桬⛓⽇⟁➃끆㋐㖑㾝ⴀ✫⼧♲⟝⟄荈搬ㄤ䒊眠瑟꟦捀 <> <> ⚺겗涸粭殥⡲ㅷ կ鸎❈贠䎑涸瑟꟦㸤Ⰼ搁➃喋㾀㾝植✫♧珏歋Ⰾ肅⸂ꆀ涸鯱ꆀ⪶欰ⴀ涸㻞ꬅ⛓䠭 <> 亘⫄⚥㕜殥涸ⶽ㨤➃僽♧⡙㥎䚍Ղ♳〢䋷桬莳涸㧵㧵侖䩛 կ♶ 麔 ꤑ ⽿ 鸎 垺 넞 顜 罜 㺢 剣 牟 鑨 蒀 䕙 կ荈䎃⟄⢵➃暟聰⫸ㄤ傈䌢欰崞稣眎⡲捀Ⰾ珏湱⿿涸䲀⸂䧭捀✫谀遮㹻⡲ㅷ⚥涸⚺錭կ㖈껺度꼛 <> 涸彂걧䧮⦛䎘⛖䖎ꨈ㖈⚥㕜谀遮〷涸䲽鶣酭䪪ⵌ㥎䚍谀遮㹻涸魧䕧Ղ荈㼓䒊桬劊涸窠屛湬荛✳⼧ ⲳ殥䐤 莉鳵涸⦐㾝湡⛓䨾⿺剣♧⦐㖑倰涸㣔瑟剣㔋⦐㣖ꤿ秋涸ծ涯涸ծ诜涸ծ랓涸⚥桬⛓⽇㾝Carl Sagan ⚆私剒䖔䎘⼧䎃㥟⦛荛㢴僽鄄鰋䲽帜㻨㖑䌞麔կ䖰䎃倝⚥㕜䧭用ⵌ嬁愯匌儗➿涸穅穡 ⴀ涸䎘⟝⡲ㅷⵌ㾝植✫瑟꟦ㄤ儗꟦涸䒁⠽կ鸎⟁➃顥鍒涸垥겗⦶Ꙧ✫⽓晋v讌呏
The Cosmic Connection: An Extraterrestrial Perspective
䎃 䎃㥎䚍涸魧⟧♧ⱄ鄄䙐鋕⚛㙵尝倴爢剚䎂瘝涸椚䙁♴Ղ鸎⦐禹窠耪珖窍✮㥎䚍莄歑䚍ず瘝涸奙 涸衼⡲շ㸙㸿鸭䱹㢪僤椕俒僈涸䱲程ո կ㖈鸎 <> ⵄ⽿銳宠㥎䚍➰ⴀ莄歑䚍瘝ꆀ涸⹩⹛ㄤ爢剚顑⟣鸎곏搬䙐鋕✫㥎䚍莄歑䚍㖈欰椚ㄤ䗱椚♳涸䊵殯 劥剅酭♧媯湱⡃涸假玐㖈⡲罏㼩䧮⦛涸㸙㸿⛓㢪僽や剣〳腊㶸㖈Ⱖ➭㖑倰涸⿿㢕䙼ꆀ⚥穡勲կ 桬 䚍կ鄄劍鏪腊갥饰⼱鼸㣔涸⚥㕜㥎䚍捀✫格䖤䨾閖涸爢剚䎂瘝➰ⴀ✫㣟⿡鄄ꥬꨅ倴荈魧溫姻涸 ⛓⽇⡲ㅷ⚥涸㸙㸿䭷嶍➊랂䧮⦛涸㸙㸿僽➊랂䧮⦛鿪尝剣㔔捀鄄㔮㖈䧮⦛涸㸙㸿⚥罜䟝诓⸔
㼩Ⱖ 䚍ⴽ钡濼涸➿⭆կ ➭涸钡陏䖰罜鷖膧㌨鸎ꨈ麤♶姻僽䧮⦛㖈ꠖ隡♧劥剅ծ♳笩䧴假遤儗䨾㼥䪪涸匌銯Ղ〥♧⦐㖑倰 〥♧纈➃〥♧❈⫄窠桬⛓⽇㖈锒ⵌ㥟捀鸎㜥㾝錓ⶽ⡲涸⡲ㅷ儗䭷ⴀ䧮䋞劅腊㣀㖈剒㣐玐䏞♳㾝 罌䣁ⵌ鸎垺Ⱘ剣䮋䨞䚍涸胜兞橇㞯䧮⦛⤑♶ꨈ椚鍒捀⡦湬ⵌ♳⚆私Ⱃ⼧䎃➿劣ㄤ⛰⼧䎃➿䩞剣㥎䚍 Ꟛ瑟꟦ㄤ儗꟦湈〳腊㖑䬘黆ꖏ걧կ齡❈麵黆涸✲暟〳⟄莄䧮⦛筝㺙湱ꡠ齡❈㖈暟椚騄ꨅ♳ꨅ䧮 <> <> <> 谀遮㹻Ꟛ㨤䫏魧倴粭殥ㄤꧧ㝕鸎垺䨾閖涸넞꧈谀遮 涸ⶽ⡲կ⽰⤑僽倝惐 ⛲ 僈 곏 歋 歑 䚍 谀 遮 ⦛䖎鵛涸✲暟〳腊隶䖤꣫欰կ鸎㽠僽捀➊랂䧮䟝㖈⡲ㅷ酭㼞儗꟦ㄤ瑟꟦祃ざկ 㹻⚺㼫Ⱖ佟屛䠑㕭⛲䕧갠✫䖔⢵涸字⚺㷸欰麋⹛կ㖈䎃㣔㸝Ꟍ✲⟝䖔鸎♧䌞剣椚䟝⚺纏ㄤ㢴 <> <> ⯋⻊蒀䕙涸娛〷ꥢ媯끏搬穅姺կ㖈姼⛓䖔➃⦛鑑㕭他膧佟屛䖰罜㼩⦐넒䚍ㄤ⦐➃傈䌢竤뀿 㾝Ꟛ䱲 ⯋⻊蒀䕙涸娛〷ꥢ媯끏搬穅姺կ㖈姼⛓䖔➃⦛鑑㕭他膧佟屛䖰罜㼩⦐넒䚍ㄤ⦐➃傈䌢竤뀿 㾝Ꟛ䱲 程կ⛲姻僽㖈鸎肅䲀⹛谀遮ⶽ⡲饥ぢ猙㺙䚍涸嵠惐⚥⚥㕜涸㥎䚍谀遮㹻Ꟛ㨤⿿䙼䚍ⴽ㉏겗䧴㋲秫㖑 程կ⛲姻僽㖈鸎肅䲀⹛谀遮ⶽ⡲饥ぢ猙㺙䚍涸嵠惐⚥⚥㕜涸㥎䚍谀遮㹻Ꟛ㨤⿿䙼䚍ⴽ㉏겗䧴㋲秫㖑 䖰荈魧㥎䚍涸鋕錭錙㻋ワ㕠涸⚆歲⚛诓歋谀遮涸铃鎊⢵㾝植㥎䚍涸劥颶կ罜鸎䠑㄂衼㼩魧넒ծ䚍ծ⟄
䖰荈魧㥎䚍涸鋕錭錙㻋ワ㕠涸⚆歲⚛诓歋谀遮涸铃鎊⢵㾝植㥎䚍涸劥颶կ罜鸎䠑㄂衼㼩魧넒ծ䚍ծ⟄
⿺➃莄➃⛓꟦涸ꡠ⤙瘝㉏겗涸ꅾ倝䱲程կ㖈⚥㕜㥎䚍谀遮㹻馊⢵馊㼱㖑「ⵌ歑奙ㄤ奙ⵄ涸䎁仟鷶 ⿺➃莄➃⛓꟦涸ꡠ⤙瘝㉏겗涸ꅾ倝䱲程կ㖈⚥㕜㥎䚍谀遮㹻馊⢵馊㼱㖑「ⵌ歑奙ㄤ奙ⵄ涸䎁仟鷶恸 <> 㼞ꡠ岤럊鱲ぢ⚺崨⛓㢪䧴ꬋ⫄窠涸谀遮䕎䒭կ罜剒鵛♧❈㥎䚍谀遮㹻ꅾ倝㔐娞粭殥 ⚛ 㼞 ⛓ 鋕 捀 腊 㣀荈䧮刿倝ㄤ䫻ⵖ荈魧䨾⺫ゎ涸⫄窠昿奙⭆⧩涸㯮➝կ桬⛓⽇⤑䫏魧倴鸎♧㻜驏կ⭽盗㥟邍爙荈䊹


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<> 植㻜⚺纏粭殥⚥涸♧珏⫄窠䪮岁㸐⟄噱捀礵焷ㄤワ㺙涸瘗鍹㖈剒㣐玐䏞♳鷅宠衼稣眎涸礵彋䏞կ ず鏽ꅻ鋅倴㸝䗞捘v嘽碛䗞涸衼⡲痦갤կ <> <> Thomas殹鄄㉏⿺㥵卓㥟〳⟄䒊用♧⦐谀遮佐诡㥟䗳搬剚佐诡ㆭ❈谀遮㹻儗桬⛓⽇㔐瘷䩯꼛倛v倶暵 Schütte Maria Lassnig 鸎珏鷟鱲涸⫙ぢ⚛♶⫦ꣳ倴⚥㕜կ剣ꡠ鸎♧㉏겗涸鎣锸鑬鋅楧麧v閊⯘卌շ㥎䚍谀遮㹻涸麔⿡莄植  ㄤ꼛ꅽ❏v䬘倛㽲呔
կ㥟铝荈䊹⛓䨾⟄䃩䬺鸎Ⰾ⡙谀遮㹻僽㔔捀 㖈粭殥ծꧧ㝕ㄤ荈䧮䕎韌ոⴀ荈䋒뉓⯘卌繠遮긬ㄤꯂ晋倛ⵄ㷸ꤎ䨥笞倛繠遮긬ㄤ俒⻊⚥䗱莉鳵涸ⰌMerrill ➭⦛涸⡲ㅷ傁邍麧✫荈䧮ず儗⛲㾝植✫谀遮〷涸鹍玐կ 椕㥎奙⚺纏殹➿谀遮涸倝倰ぢ涸㾝錓ⴀ晜暟ⴀ晜爢 ⧍侚痦갤姼贕 <> 呏亘շ⚆劥v⡲眜ոծշ殥〷剚銳ոծշ剅㞓ոծշ恍剅v〢➚➃邍ո瘝門㢴㸽倰娛〷衼鶣涸䲽鶣侖䩛鄄鋕捀⚥ 鋅倴痦갤կ <> 㕜殥涸殥牏կ䶰荈顼倰莽շ✳⼧⚆私涸⚥㕜㥎䚍谀遮㹻ոⴀ荈岚䛸㮒㥎⽇暟긬莉鳵涸⼱鼸㣔⚥㕜 껺度ㄤ秢秉꼛ⲳ殥䐤㾝錓桬⛓⽇꽏岚կ <> 㥎䚍谀遮㹻涸㾝錓ⴀ晜暟歋岚䛸㮒㥎⽇暟긬ⴀ晜箠罏⯘ꅽ倛v笞晋秜齶蟢槈 䒸荈猰裥蘗v-v⽓暵շ꽏岚ո痦갤姼贕捀痦ծ갤կ <> 뜨㸝㫪v淼䀈痦갤կ 姼妃㾝錓倴䎃剢傈荛剢傈㖈껺度莉鳵կ <> <>
剣ꡠ鸎✳⼧䎃ꅽ⚥㕜㥎䚍谀遮㹻涸谀遮鹍玐鑬鋅㸝䗞捘v嘽碛䗞շ⧿㣐涸ⴔ䩛䎃꟦涸 䧴鏪㖈䧮⦛涸㸙㸿⛓㢪剣Ⱖ➭㖑倰ⴀ荈⽓晋v讌呏涸շ㸙㸿鸭䱹㢪僤椕俒僈涸䱲程ոⷧ堀㣐㷸 涮㾝ㄤ⹛ぢո痦갤姼贕鋅倴痦갤կ ⴀ晜爢
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⚥齡ꦷ鄄鼌衅 ⡲ㅷ鹍♧姿鄄䓽⻊կ㖈錙溏桬⛓⽇涸⡲ㅷ儗䧮⦛♶ꨈ涮植鸎⡙걃Ⱘ㣔颭涸谀遮㹻⟄㳰擿涸粭殥䪮䊫 㖈♧纈饕艀騥莺涸㕼衼➃魧倾㖑匣♳涸磋蒀䬯ꭑ㽠〳⟄鄄娞捀姼կ桬⛓⽇欽膧ꨅ铃㞯涸倰䒭㾝爙衼 ㄤ䪮谀⡲捀⡲ㅷ涸㛇럊⢪⡲ㅷ♶⡎峕形衼倝늫ծ殹➿涸孴䜂ず儗⛲帿帿㖑嗃呏倴娛〷ㄤ⫄窠կ桬⛓ 鸎❈暟⟝⢪鸎❈劥魧⚛♶ꅾ銳ծ欨荛㖈䎂ⳝ涸傈䌢欰崞酭䗎♶駈麤涸⯋稇エ䒸衼䧮⦛涸湡⯕կ诓歋鸎 ⽇暵ⴽ乲Ꟁ⟄♧珏镽ⵞ涸ծ⿿薉꧆䒭涸ず儗⿶䃩넞罜⟁➃♶㸝涸倰䒭⢵㾝植植➿⚥㕜ㄤⰦⰊ㖈涸濨
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<> ず鏽ꅻ鋅倴㸝䗞捘v嘽碛䗞涸衼⡲痦갤կ <> 鸎珏鷟鱲涸⫙ぢ⚛♶⫦ꣳ倴⚥㕜կ剣ꡠ鸎♧㉏겗涸鎣锸鑬鋅楧麧v閊⯘卌շ㥎䚍谀遮㹻涸麔⿡莄植 㖈粭殥ծꧧ㝕ㄤ荈䧮䕎韌ոⴀ荈䋒뉓⯘卌繠遮긬ㄤꯂ晋倛ⵄ㷸ꤎ䨥笞倛繠遮긬ㄤ俒⻊⚥䗱莉鳵涸ⰌMerrill 椕㥎奙⚺纏殹➿谀遮涸倝倰ぢ涸㾝錓ⴀ晜暟ⴀ晜爢 ⧍侚痦갤姼贕 鋅倴痦갤կ <> 껺度ㄤ秢秉꼛ⲳ殥䐤㾝錓桬⛓⽇꽏岚կ <> 䒸荈猰裥蘗v-v⽓暵շ꽏岚ո痦갤姼贕捀痦ծ갤կ <> 姼妃㾝錓倴䎃剢傈荛剢傈㖈껺度莉鳵կ


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倴䎃剢傈涮䋒 桬⛓⽇կ <> Piper <> 鑬鋅騟僒窣v覇倛暵շ桬⛓⽇⿿捦䩯齥涸䟝⫸ոⴀ荈շ⼱鼸㣔⚥㕜㥎䚍谀遮㹻鏞锒ո ⴀ晜爢 ⚥㕜ꫬ瀖僽♧珏抪蒀涸瀖抪䀵կ鸎❈⨢鮦ꥻ燗暟㖈⚥㕜걃捀䌢鋅㸐⦛鄄佞縨㖈犜姺⨢鮦涸⼥㚖欽 倝⽂㪭晋㡦麤倛錭痦갤姼贕鋅倴痦갤կ ⢵꣈姺ꬋ岁⨢鮦կ <> <> ず鏽ꅻ痦갤կ 桬⛓⽇կ <> <> ず♳痦갤կ 桬⛓⽇կ BIOGRAPHY

Wang Zhibo 2013 Art Taipei, Edouard Malingue Gallery Booth, Taipei, Taiwan Born 1981 in Zhejiang, China. Lives and works in Hangzhou, China. Sydney Contemporary, Edouard Malingue Gallery Booth, Sydney, Australia Standing Wave, Armory Show, Edouard Malingue Gallery, New York, USA Education Standing Wave, Edouard Malingue Gallery, Hong Kong

2008 MFA, China Academy of Art Oil Painting Department 2012 2005 BFA, China Academy of Art Oil Painting Department China Young Artists Exhibition Project, Beijing international Convention and Exhibition Center, Beijing, China Awards Fictional Recoveries, Pearl Lam Gallery, Shanghai, China

2009 Luo Zhongli Scholarship 2010 Reshaping History China art from 2000-2009, Arario Gallery, Beijing, China Solo Exhibitions 2009 2016 Narrate—The Contemporary Art Exhibition on both sides of Taiwan strait, Taiwan Museum, Taiwan / Na- There is a place with four suns in the sky - red, white blue and yellow, Edouard Malingue Gallery, Hong tional Art Museum of China, Beijing, China Kong Infantization, Antwerp Museum, Antwerp, Belgium Luo Zhongli Scholarship Exhibition, Peking University, Centennial Hall, Beijing, China 2013 Blade—rebuild the Pagoda, SZ Space, Beijing, China Standing Wave, Armory Show, Edouard Malingue Gallery, New York, USA Standing Wave, Edouard Malingue Gallery, Hong Kong 2008 Deep Pond and Float Chamber, Nanjing QingHe Contemporary Art Museum, NanJing, China Future Sky - Chinese Contemporary Young Artist Invitation Exhibition, Today Art Museum, Beijing, China Group Exhibitions Luo Zhongli Scholarship Exhibition, ChongQing Art Museum, ChongQing, China Infantization, Museum of Contemporary Art Taipei, Taiwan 2019 New View, He Xiangning Art Gallery Shenzhen, China Sans Soleil, Edouard Malingue Gallery, Shanghai, China 2007 2017 Infantization, Shanghai Art Museum, Shanghai, China Pan Yuliang: A Journey into Silence, Times Museum, Guangzhou, China China Today, Bartha & Senarclens gallery, Geneva, Switzerland Pan Yuliang: A Journey into Silence, Villa Vassilieff, Paris, France 2005 2015 The 2nd Chengdu Biannual Exhibition, Chengdu Modern Art Museum, China Tenth Anniversary Retrospective Exhibition of Luo Zhongli Scholarship, Chongqing Art Museum, Chongq- ing, China Publications

2014 2015 Half the Sky: Conversations with Contemporary Women Artists in China, Piper Press, Sydney; by Bazaar Art Jakarta, Jakarta, Indonesia Luise Guest Wondermountain, Penrith Regional Art Gallery, Sydney, Australia 2013 Standing Wave, Edouard Malingue Gallery; Texts by Dr. Katie Hill, Dr. Curtis Carter 知娛 2013 桬⛓⽇ 1981 〵⻌㕜ꥸ谀遮⽇錓剚
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2016 卓ⲵ㖈㸝暵遺兜
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⚥㕜 Today, Bartha & Senarclens gallery, 2019 傈Ⰺ檲榰㡦
2005 尝剣㣖ꤿ
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⚥㕜 2017 痦✳㾂䧭鿪꧱䎃㾝
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檲銯⴩㣗Ⱆ긬
䊼랫
岁㕜 ⴀ晜 2015 2015 Piper Press 2015, Luise Guest 2013
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Standing Wave Dr. Katie Hill, Dr. Curtisⴀ晜
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ꅾ䣓 ⚥㕜 2014

Wondermountain,⽪㽲谀遮⽇錓剚 ꧈⸈麧 ⽪㽲 Penrith Regional Art Gallery, 䜪㽲
慌崍 Edouard Malingue Gallery

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䐤 Sixth Floor, 33 Des Voeux Road Central, Hong Kong

33 6 껺度⚥橇䗞鰊麤⚥ 贪 垛 2202, 2879 Longteng Avenue Xuhui District, Shanghai 200232

♳嵳䋑䖛⻽⼥륋꿴㣐麤 2879 2202 贪
㋲⯋ edouardmalingue.com

Wang Zhibo | 桬⛓⽇

Published by Edouard Malingue Gallery, 2019

© Edouard Malingue Gallery © Wang Zhibo

All images courtesy of Edouard Malingue Gallery and the artist Edouard Malingue Gallery 꼛
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