Miao Xiaochun
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Post-History's Being Just So
POST-HISTORY'S BEING JUST SO By Gregor Jansen Photographs, especially instantaneous photographs, are very instructive, because we know that they are in certain respects exactly like the objects they represent. But this resemblance is due to the photographs having been produced under such circumstances that they were physically forced to correspond point by point to nature. In that aspect, then, they belong to the second class of signs [indices]. —Charles Sanders Pierce, “Logic as Semiotic: The Theory of Signs” Total city, informal city, northern city, Forbidden City, desert city, imperial city, capital of the Middle Kingdom, city of wind, city of bicycles, city of objects, grid city, interwoven city: Beijing is a city with many names and faces. After spending some time in the midst of the many ring roads and the millions of people in this megalopolis, one learns to treasure their names and faces and to understand their way of life. Beijing is a city that can hardly be grasped, a uniform city, ugly for many foreigners, a city that does not speak to them. Its mere size, horizontal extension, and uniformity, however, have changed radically in recent years: from the Forbidden City, the Imperial Palace, to a national village, and to the city with a strong wall of fortification, today’s second ring road, to a gigantic megalopolis with 18 million residents and seven ring streets, at the same time the global “village” as a center of the most populated country in the world. Those more familiar with Beijing like the city. Miao Xiaochun, born in Wuxi Jiangsu in 1964, likes it too. -
Miao Xiaochun Born 1964 in Wuxi, Jiangsu, China
Miao Xiaochun Born 1964 in Wuxi, Jiangsu, China. EDUCATION 1999 M.A., Kunsthochschule Kassel, Kassel, Germany 1989 M.A., Central Academy of Fine Arts, Beijing SOLO EXHIBITIONS 2019 Miao Xiaochun: Gyro Dance, Eli Klein Gallery, New York 01 Variable Cycle: Miao Xiaochun 2006-2018, OCT Art & Design Gallery, Shenzhen, China 2016 Miao Xiaochun: Metamorphosis, Klein Sun Gallery, New York Miao Xiaochun: Echo, Galerie Paris-Beijing, Paris 2015 Miao Xiaochun: 2015, Art Museum of Nanjing University of the Arts, Nanjing, China Miao Xiaochun: Save As, White Box Art Center, Beijing Miao Xiaochun: Grammar, Arario Gallery, Shanghai 2014 Miao Xiaochun: Microcosms, Es Baluard Museu d’Art Modern i Contemporani de Palma, Palma, Spain 2012 Miao Xiaochun: The Real in the Virtual, The Dennos Museum Center, Dennos, Michigan 2011 Miao Xiaochun: Out of Body, White Box Museum of Art, Beijing Miao Xiaochun: Microcosm, Galeria Arsenal, Bialystok, Poland 2010 Miao Xiaochun: Macromania, Ludwig Museum, Koblenz, Germany Miao Xiaochun: Microcosm, Arario Gallery, New York Miao Xiaochun: New Works, Arario Gallery, Seoul Miao Xiaochun: Beijing Index, Alexander Ochs Galleries, Berlin 2009 Miao Xiaochun: Microcosm, Arario Gallery, Beijing Miao Xiaochun: Microcosm, Walsh Gallery, Chicago 2008 Miao Xiaochun: Microcosm, Osage Gallery, Singapore and Hong Kong Miao Xiaochun: Microcosm, Alexander Ochs Galleries, Berlin Miao Xiaochun: Index, White Space Beijing, Beijing Heaven and Earth - Miao Xiaochun’s Virtual World, Lin & Lin Gallery, Taipei Miao Xiaochun: The Last Judgment in -
Urban Demolition and the Aesthetics of Recent Ruins In
Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起,我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦,时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”,太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后,在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦,写作,生育,繁衍,结果,死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着,这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天,今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想,这能是新一轮 una tienda, 通天塔建造工程:设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里,就像卡夫卡的鼹鼠, de modo que para ella también resulta cómodo este modo 或锡安城的心脏,谁在乎呢? de vida, 多少人满怀信心,一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量,完成日期倒成了次要的 obra, 我们这个时代,也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切,不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria. -
Mirage: Cosmos from Past to Future Miao Xiaochun
osage hong kong osage 4/F, 20 Hing Yip Street, Kwun Tong, Hong Kong T: 2389 8332 E: [email protected] W: osagegallery.com 20th October 2016 PRESS RELEASE To Arts and Features Editors FOR IMMEDIATE RELEASE Osage Gallery presents Mirage: Cosmos from Past to Future Miao Xiaochun Microcosm, by Miao Xiaochun, 2008, digital ink painting, 157x276cm Image courtesy of the Artist and Osage Gallery Osage Gallery is pleased to announce the extension of Miao Xiaochun’s exhibition: “Mirage: Cosmos from past to future” through December 15, 2016. The exhibition has been expanded with two videos by Miao, “Microcosm” and “Where Shall I go”, letting the viewer experience the Microcosm and the Last Judgment in Cyberspace series respectively from a fresh perspective. Miao bridges the past and current both in terms of the media he uses and in subject matter. Miao radically marries the use of traditional Chinese Ink, as well as traditional painting with techniques and images rendered and inspired by his animations, in particular the 3D software and ‘wireframes’ with which animators build their virtual environments. While the compositions of Miao’s work frequently reference classical paintings such as those by Hieronymous Bosch, Michelangelo and Caravaggio that depict views on the world and universe as influenced by the western Christian church, these images take on a wholly different meaning in the contemporary context. In the Last Judgment in Cyberspace series, for example, Miao questions the nature of judgement, stating, “Are my views towards myself, my nation and my national religion and culture overly compassionate or overly critical? Are my views and judgements of other people, other nations and other religions and cultures too severe or too respectful?” The Last Judgement in Cyberspace series is the first of the artist’s works exclusively using 3D software, and fully explores the possibilities offered by animation to create multiple perspectives – as a result, the judged and judgers are conflated, and our perspectives are fluid. -
Miao Xiaochun Echo
MIAO XIAOCHUN ECHO Miao Xiaochun, The triumph of Death, 2015 Acrylic on linen 400 x 400 cm MIAO XIAOCHUN ECHO Solo exhibition from May, 12 to June, 18 2016 Opening on Thursday, May, 12 from 6:00 pm in the presence of the Galerie Paris-Beijing is pleased to announce the solo show of Miao Xiaochun, unanimously considered as the pioneer of digital art in China. Echo reveals his most recent body of works, a stunning combination of paintings and 3D animations exploring the interfaces between the real and the virtual, the human and the digital, culture and technology. Professor in the Department of Photography and Digital Media at the Central Academy of Fine Arts (CAFA) in Beijing, Miao Xiaochun has been relentlessly creating and building virtual universes, unlimited in size, perspective and imagination over the past 20 years. Populated by strange cybernetic beings, with no clothes, character or expression, these worlds combine the canons of European classical art history with highly technological and futuristic urban settings. Restart, a 3D animation created between 2008 and 2010, succeed in combining in less than a 14-minutes video the most diverse objects with numberless references to art history, architecture, and design. Raphael’s frescoes Parnassus and The School of Athens come after the macabre scenario of Pieter Bruegel paintings (The Triumph of Death, Fall of Rebel Angels, Mad Meg). Despite their digital reconstruction and reinterpretation, all the original masterpieces are clearly recognizable. The work, which is terribly attractive and unsettling, evokes the unsolved myth of Eros and Thanatos and raises the question of discontent in an ultra-developed civilization, where technology troubles human drives and desires. -
MIAO XIAOCHUN Né À Wuxi, Jiangsu Province, Chine En 1964
GALERIE PARIS-BEIJING MIAO XIAOCHUN Né à Wuxi, Jiangsu Province, Chine en 1964. Vit et travaille à Beijing, Chine. Diplômé de la China Central Academy of Fine Arts (CAFA), Beijing, Chine et de la Kunsthochschule Kassel, Allemagne, professeur à la CAFA. EXPOSITIONS PERSONNELLES 2019 Miao Xiaochun: Gyro Dance, Eli Klein Gallery, New York, États-Unis “01 Variable Cycle: Miao Xiaochun 2006-2018,” OCT Art & Design Gallery, Shenzhen, Chine 2016 “Metamorphosis,” Klein Sun Gallery, New York, États-Unis Echo, Galerie Paris-Beijing, Paris, France 2015 “Miao Xiaochun: Save As,” White Box Art Center, Beijing, Chine “Miao Xiaochun 2015,” Art Museum of Nanjing University of the Arts, Nanjing, Chine “Grammer – Miao Xiaochun,” Arario Gallery, Shanghai, Chine 2014 Dreamland, K.Gallery, Chengdu, Chine 2012 Miao Xiaochun: The Real in the Virtual, The Dennos Museum Center, Travers City, Michigan, États-Unis 2011 “Out of Body,” White Box Museum of Art, Beijing, Chine «Miao Xiaochun – Microcosm,” Galeria Arsenal, Bialystok, Poland 2010 “Macromania,” Ludwig Museum, Koblenz, Allemagne “Microcosm,” Arario Gallery, New York, États-Unis “New Works - Miao Xiaochun,” Arario Gallery, Seoul, Corée du Sud «Beijing Index,” Alexander Ochs Galleries, Berlin, Allemagne 2009 “Microcosm,” Arario Gallery, Beijing, Chine “Microcosm,” Walsh Gallery, Chicago, États-Unis 2008 “Microcosm,” Osage Gallery, Singapore; Osage Gallery, Hong Kong “Microcosm,” Alexander Ochs Galleries Berlin|Beijing, Berlin, Allemagne “Index,” White Space Bejing, Beijing, Chine “Heaven and Earth: Miao Xiaochun’s -
Chinese Ink Painting Now 当代中国水墨画
当 代中PAINTING 国CHINESE INK 水 墨 画 NOW CHINESE INK PAINTING NOW 当代中国水墨画 ISBN 978-1-935202-11-0 9 781935 202110 PRINTED IN CHINA CHINESE INK PAINTING NOW CHINESE INK PAINTING NOW Distributed Art Publishers, Inc. New York Essay by Jason C. Kuo 郭 生 6 Foreword 8 Transfigurations Contemporary Chinese Ink Painting and Calligraphy JASON C. KUO 30 DepARTURES | CONTEMPOR ARY BRUSH-AND-INK AeSTHETICS 104 AbSTR ACTION 146 INK AS MedIUM 166 NeW EXPRESSIONISM 194 ReVIVAL OF THE BLUE-AND-GReeN TRADITION 212 SOCIAL COMMENTARY 259 Selected Bibliography 263 Index of Artists 264 Acknowledgments FOR EWOR D As an observer and modest collector of Chinese contemporary art in the 1980s and an focused on the more flamboyant styles described above.H owever, beneath the turbu- art dealer in the field from the 1990s, it has been fascinating to witness its dramatic lent surface of the mainstream market flowed a consistent rhythm of experimentation evolution. What has happened in these last thirty years is no less than a radical shift by ink painters and calligraphers whose diverse output has provided opportunities for in the axis of Chinese culture, comparable to the wholesale reorientation of aesthetics a cultivated minority to enjoy not only the subtle connection with the literati past but in the first few years of the twentieth century. A similar imperative then existed for also the artists’ engagement with the realities of contemporary life. artists to try to build a new pictorial language to express the economic, scientific, and An increasing momentum of institutional interest in the field has in fact taken place social realities that had emerged by the end of the nineteenth century.