BIRD ISLAND a Solo Exhibition by Guan Wei

BIRD ISLAND a solo exhibition by Guan Wei

LANDING ON MYTH AND HISTORY – GUAN WEI’S LEVITY

The heaviest of burdens is therefore simultaneously an image of life’s most intense fulfillment. The heavier the burden, the closer our lives come to the earth, the more real and truthful they become. Conversely, the absolute absence of burden causes man to be lighter than air, to soar into heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant. What then shall we choose? Weight or lightness?

— Milan Kundera (The Unbearable Lightness of Being)

1 For many Chinese artists who left China in the wake of the Tiananmen Incident on 4 June to Australia (2003), and Unfamiliar Land (2006), combining the visual records of Australia’s 1989, the West was presented to them as a fabled land filled with purported opportunities colonial-settler past with contemporary socio-economic conflicts in immigration, racism, and freedoms, or at the very least an effective socio-cultural counterpoint to the strong political asylum and military aggression but transposed onto a Chinese graphical terrain, arm rule of the Communist Chinese government. Most chose to go to Europe and America dotted with classical Chinese imagery and stylistic motifs. Resembling the pseudo-scientific but a small group of artists ventured eastwards towards another continent – Australia, a natural history drawings that white settlers, convicts and officers made of the continent’s country less involved in art world shenanigans but nonetheless still affording the Chinese flora and fauna in the 18th and 19th centuries, Guan’s illustration of distinctive indigenous artists a breather from the convulsive politics in reformist China and the ossified academic birds underscore the birds’ symbolic importance in inculcating new visions, attitudes and art styles of the Socialist Realist tradition. In this group was Guan Wei (b. 1957), part of morals for the incoming residents: nature is made to become instructive in ways either a stream of artists including Ah Xian, Shen Jiawei, and Guo Jian, who emigrated from welcoming or hostile. The cartographic survey and outline of Australia as if from the time China to Australia in the late 1980s and early 1990s. Guan first went to Australia to take of Matthew Flinders in the 1800s is juxtaposed with depictions of boatloads of either up an artist-in-residence at the Tasmanian School of Art in 1989 after graduating from early explorer-settlers or current refugees, both coming into acrimonious contention with the Department of Fine Arts at the Beijing Capital University and returned in 1990 only native creatures and aboriginal peoples already living on the land. Incongruously, Guan to remain in Sydney for the next twenty years, taking up Australian citizenship in the mid Wei has also infiltrated this series of pictures with Chinese auspicious symbols of dragons, 1990s and finally exhibiting for Australia in the third Asia-Pacific Triennial in 1999. traditional wave patterns and stylised clouds and mountains, undercutting the inherent menace of the situation with the decorative appeal of the Chinese motifs. Much of Guan Wei’s career was fomented in Australia and the indelible imprint of Australian history and current affairs is also what makes Guan’s practice uniquely different from other Yet, rather than speaking of cultural dislocation and assimilative difficulty, Guan is instead Chinese-Australian émigré artists. As with almost every other Chinese artist abroad, the looking to identify points of collision and similarity. The conquering of the New World by the retention of distinctive cultural markers and acknowledgement of impeccable Chinese Old World is a history not so unfamiliar to Guan Wei as he is a direct descendent of Manchu academic training are often cited as personal identity imperatives, a demonstration of nobility, the Manchurian bannermen who overthrew the Ming dynasty to form the Qing court their rootedness as Chinese persons. Guan Wei is no exception to this but he seems less in the mid-1600s, just a century shy of the golden ascent of Western colonialism. Guan’s willing to use his Chineseness as cultural crutch or capital, deploying it as an aesthetic great-grandfather was the Comptroller of Yihe Yuan, Empress Dowager Ci Xi’s Summer and philosophical prism through which to refract his own comprehension of Australian life Palace; and his great-great-aunt was the birth mother of Xuantong Emperor Aisin Gioro and issues. His latest series of paintings, Bird Island #1 - #6 (2011, acrylic on linen, 65 x Puyi, the last imperial ruler of China. The Communist takeover after the Sino-Japanese 80 cm) continues in a similar vein to previous works such as Dao/Island (2002), A Passage war and the ensuing Cultural Revolution meant that all vestiges of traditional or feudal

2 3 Chineseness had to be expunged. The vestiges of Chineseness that Guan reinstates here foibles and joys. Perhaps Guan cannot resist also taking a humorous dig at his own style: however are also typical of the Qing dynasty, the symbols and motifs originating largely his series of five Cloud figures perch delicately on white pedestals belying their own heft from decorations commonly found on textiles, robes and ceramics. Moving from China and each naked smooth-skinned figure cannot seem to get rid of the cloud that has to Australia because of Tiananmen, Guan experiences again the transient fortunes of his become one of Guan’s signature motifs. One cross-legged seated figure has its head family but now can imagine himself as part of the wider global ebbs and flows of people in stuck in the clouds and another bears the weight of the cloud on its back; one prepares to search of better lives. The vast blue sea and sky which first seduced and liberated Guan throw the cloud as if a giant rock and another has one foot stuck in the cloud. It has been Wei in Hobart, no longer can exist as innocent inspiration for his work but become part said that the cloud is Guan’s metaphor for thought and action in the world, the imperative of an affliction charged with the exercise of power such that his “using of Chinese eyes of acting on the world that does not discriminate between creed, race, ideology or nation. to create Australian stories” must necessarily be complicitous with the act of mythifying By seeking to move beyond the affairs of the day, Guan Wei prospects for a potential histories. transcendence that can take place via poetry and art.

The mental shifts that Guan Wei had effected in moving from the Middle Kingdom to a The balance between lightness and weight in art is a perpetual battle waged by artists who continentally-sized island has also led to his perceived absorption and cooptation by the do not want to appear to be without gravitas but who also find that this might edge them Australian establishment. But Australia does not appear to be always on Guan Wei’s mind, towards distasteful didacticism. The “clouded” views perpetuated in Guan Wei’s works if one looks to the series of white-painted bronze sculptures named Cloud (2009) and his exemplify this eternal tug-of-ambivalence which the artist seems to take on as cheerful miniature acrylic on card paintings in Buddha’s Hand (2010). Whimsy is the antidote to the labour. The clouds are themselves variously portentous symbols of uncertainty, traditional heavy-handedness of historical and mythic narratives and it is in these works that Guan Chinese imagery, manifestations of flight and escape (in contrast to the besieged island/ finds some counterbalancing humour by revisiting some classical Buddhist figuration continent), or philosophical representations of munificence and change. While most of us in an absurdist line of inquiry. The tumescent hands that appeared in Bird Island were would like to deny the freight the clouds carry, these burdens can only usefully become first shown as variations on the Buddhist mudras, defined and sacred hand gestures in Guan Wei’s creative ballast. the representational imagery of the Buddha produced from the fifth century onwards. Communicating subtle meanings in equanimity and holiness has been the task of the Dr. Adele Tan Buddhist artisan but in Guan Wei’s irreverent treatment, Buddha’s hands are alternately Curator playful and lascivious, or supportive and generous but always seen teasing his iconic The National Art Gallery rotund and asexual character that is the avatar of the human race in its manifest follies, Singapore

4 5 BIRD ISLAND

Bird Island #1 2011 | Acrylic on linen | 65 x 80 cm

6 7 Bird Island #2 Bird Island #3 2011 | Acrylic on linen | 65 x 80 cm 2011 | Acrylic on linen | 65 x 80 cm

8 9 Bird Island #4 Bird Island #5 2011 | Acrylic on linen | 65 x 80 cm 2011 | Acrylic on linen | 65 x 80 cm

10 11 Bird Island #6 2011 | Acrylic on linen | 65 x 80 cm

12 BUDDHA’S HAND

Buddha’s Hand #22 2010 | Acrylic on card | 25 x 30 cm

14 15 Buddha’s Hand #23 Buddha’s Hand #24 2010 | Acrylic on card | 25 x 30 cm 2010 | Acrylic on card | 25 x 30 cm

16 17 Buddha’s Hand #25 Buddha’s Hand #27 2010 | Acrylic on card | 25 x 30 cm 2010 | Acrylic on card | 25 x 30 cm

18 19 Buddha’s Hand #28 Buddha’s Hand #29 2010 | Acrylic on card | 25 x 30 cm 2010 | Acrylic on card | 25 x 30 cm

20 21 Buddha’s Hand #30 2010 | Acrylic on card | 25 x 30 cm

22 CLOUD | 云

Cloud ( 云 ) #1 2009 | Bronze sculptures | 55 x 41 x 23 cm | edition of 5

28 29 GUAN WEI born: 1957, Beijing, China

Lives and works in Beijing and Sydney

Education and Awards

2011 Artist-in-residence at He Xiang Ning Art Museum, OCT Contemporary Art Terminal Shenzhen, China. 2010 Artist-in-residence at The Josef and Anni Albers Foundation USA. 2008-10 Fellowship Grant Australia Council, and set up a studio in Beijing. 2007 Ambassador 2007 City of Sydney Chinese New Year Festival. Grant, Australia Council, artist in residence at Cite International des Art Paris. 2006 Artists’ Camp, Gunbalanya (Oenpelli), Western Amhem Land, through 24HR Art, Darwin (Australia Council Grant). Artist-in-residence Campbelltown Arts Centre, Sydney. 2005 Australia – China Council residence grant at Taipei Artist Village. 2004 Commission ‘Feng Shui’ Mural Painting for 700 Collins St Docklands, Melbourne. Commission ‘Paper War’ For SBS & Australian Centre for the Moving Image. 2003 Grant, Australia Council artist-in-residence Greene St New York. Visiting Fellowship, Canberra School of Art Australia National University. 2002 Awarded 2002 Sulman Prize NSW Art Gallery. 2001 Awarded 2001 Mosman Art Prize, Sydney. Awarded 2001, 39th Festival of Fisher’s Ghost, Campbelltown Art Gallery, Sydney. Artist-in-residence Bundanon Trust Nowra NSW. Artist-in-residence Parks Victoria VIC. Artist-in-residence Casula Power House Museum NSW. 2000 Grant from AsiaLink Australia. Artist-in-residence, Lasalle SIA College of the Arts, Singapore. 1999 Awarded 1999 Nillumbik Art Award, VIC Australia. Awarded 1999 Geelong Print Prize. Awarded 1999 Rena Elen Jones Memorial Print Award. Artist-in-Residence Queensland College of Art, Griffith University. 1998 Visiting Fellowship, Canberra School of Art Australia National University. Grant, Australia Council. Art Prize 1998 Gold Coast City Gonrad Jupiters Art Prize. 1997 Artist-in-Residence, Sydney Grammar School. Awarded 1997 Australian Print Media Art Prize, University of Western Sydney, Nepean. Awarded 1997 Biennial Art Exhibition diary, The Southland Entertainment Centre, Sydney. One of the eight artist commissioned to produce the fine art limited edition prints for the Sydney 2000 Olympic poster program. 1996 Curatorial Team Member, the Second Asia-Pacific of Contemporary Art Triennial Queensland Art Gallery. 1995 Grant, Australia Council. 1994 Awarded 1994 Gold Coast City Gonrad Jupiters Art Prize. 1993 Artist-in-Residence, Canberra School of Art, Australian National University.

31 1992 Artist-in-Residence, Museum of Contemporary Art, Sydney. Umbrella Studio, Townsville North Queensland. 1990-91 Artist-in-Residence, Tasmanian School of Art, University of Tasmania, Hobart. Magic Garden, Hanart T Z Gallery, Hong Kong. 1990 Grant, Australia Council. 1995 Treasure Hunt, Sherman Galleries, Goodhope, Sydney. 1989 Artist-in-Residence, Tasmanian School of Art, University of Tasmania, Hobart. 1994 The Great War of the Eggplant, Drill Hall Gallery, The Australian National University. 1986 Graduated from the department of Fine Arts of Beijing Capital University and became an art 1993 Test Tube Baby, Sherman Galleries, Sydney. teacher in a High School. 1992 The Living Specimen, Plimsoll Gallery University of Tasmania, Hobart. Guan Wei Solo Exhibition, Dick Bett Gallery, Hobart. 1991 Guan Wei Solo Exhibition, Waverly City Gallery, Melbourne. Guan Wei Solo Exhibition, Hobart Despard Street Gallery, Hobart. Solo Exhibitions Guan Wei Solo Exhibition, Plimsoll Gallery University of Tasmania, Hobart. Guan Wei Solo Exhibition, Photo Space School of Fine Art in the Australian National 2011 Spellbound, He Xiang Ning Art Museum, OCT Contemporary Art Terminal Shenzhen, China University, Canberra. 2010 Cloud in the sky, Water in the bottle, Shumu Art Space, Beijing 1989 Guan Wei Solo Exhibition, French Embassy, Beijing. Cloud, ARC One Gallery Melbourne, Australia 2009 Fragments of history, Kaliman Gallery, Sydney, Australia Longevity for Beginners, 10 Chancery Lane Gallery, Hong Kong. 2008 Zodiac, Turner Galleries Perth, Australia. Selected Group Exhibitions 2007 Day After Tomorrow, Red Gate Gallery 798 Village, Beijing. A Mysterious Land, ARC One Gallery, Melbourne. 2011 Journeys, Plimsoll Gallery, Tasmanian School of Art, Hobart. 2006 Other Histories: Guan Wei’s Fable for a Contemporary World, Powerhouse Museum, Sydney. Collaborative Witness: Artists responding to the plight of the refugee, The University of A Distant Land, Contemporary Art Centre of South Australia, Adelaide. Queensland Art Museum. Jiang Hu, Liverpool Regional Museum, Sydney. 2010 Shanghai Biennial, Shanghai Museum, China. Echo, Sherman Galleries, Sydney. Song Zhuang Festival, Shangshang International Art Gallery, Beijing. 2005 Secret Histories, ARC One Gallery, Melbourne. Comings and goings, Chinalink Gallery, Sydney. 2004 Looking for Enemies, Sherman Galleries, Goodhope, Sydney. 2009 10th Havana Biennial, Cuba. Prediction-Reflection, The Church Gallery, Perth International Arts Festival. Spectacle to each his own, Museum of Contemporary Art, Taipei. 2003 Looking, Greene St Studio, New York. Rave Forum, Li Space, Beijing. A Passage to Australia, photospace School of Art ANU Canberra. The China Project, Queensland Art Gallery, Australia 2002 Dao Esplanade Theatres on the Bay, Singapore. Coming Home, Linda Gallery, 798 Village, Beijing. Island, Sherman Galleries, Goodhope, Sydney. Midway, Yuan Center of Art Beijing, ShangHai, Xiamen, Tianjin China, Wollongong City Gallery Exotic Flowers & Rare Grasses, Sherman Galleries Hargrave, Sydney. and 14 regional galleries in Australia. 2001 Studio Show, Parks Victoria Warrandyte Melbourne. Anamnesis and Extrapolation, PKM Gallery Beijing. 2000 Horoscope, Red Gate Gallery, Beijing. Stars of China – Past & Present, Museum Jan Van der Togt, Amstelveen, Netherlands. Domino, Arrivals, Sydney 2000 Olympic Arts Festival. Strange Eden, Kaliman Gallery, Sydney. Zen Garden, Sherman Galleries, Sydney. Allegorical Aftermath, Shanghai Gallery of Art, Three on the Bond, Shanghai. Looking for Home, Earl Lu Gallery, Singapore. Controversy & Acclaim, Mosman Gallery, Sydney. 1999 Floating, Sherman Gallery, Sydney. 2009 Clemenger Contemporary Art Award, National Gallery of Victoria. Nesting, or Art of Idleness, Museum of Contemporary Art, Sydney. Tempting God, Depot Gallery, Sydney Australia. Span Galleries, Melbourne. Transcendence Reflections of an East West Fusion, Art Atrium Gallery Sydney, Australia. 1998 Revisionary, Drill Hall Gallery, The Australian National University. Fringe Art Program My Australian Life 2009 ANZ Australian Film Festival, SLT Village Beijing. Internal Circulation, Red Gate Gallery, Beijing. 2008 Handle with Care, Adelaide Biennial of Australian Art, Art Gallery of South Australia. 1997 The Last Supper, Tokyo Gallery, Tokyo, Japan. Yin-Yang: China in Australia, the National Trust S.H. Ervin Gallery. ex/inspire, Sherman Galleries, Goodhope, Sydney. Australian, Casula Powerhouse Arts Centre Sydney. Anonymous Invader, Sydney Grammar School, Sydney. Lines in the Sand - Botany Bay Stories from 1770, Hazlehurst Regional Gallery & Art Centre, Sydney. 1996 Return to Paradise, Red Gate Gallery, Beijing, China. Southern Skies Chinese Artist in Australia, Australian Embassy, Beijing.

32 33 Shifting Identity, Li Space, Beijing. Points of View, University of Technology Gallery, Sydney. Red Gate Stars, Watchtower Red Gate Gallery, Beijing. Borderpanic, Performance Space, Sydney. Apartment Art, Shui Mu Contemporary Art Space 798, Beijing. Fesitivus, Sherman Galleries Goodhope, Sydney. Dream of Song Zhuang, Yuan Chuang Art Centre Song Zhuang, Beijing. 2002 The Year in Art, S.H. Ervin Gallery, Sydney. 2007 Down Under, DenHaag Sculpture 07 Hague Sculpture, Netherlands. Dressing & Dreaming, Sherman Galleries Hargrave, Sydney. Voiceless, Sherman Galleries, Sydney. Deeper Places, Casula Power House Arts Centre, Sydney. Scienceasart, Art Gallery of NSW, Sydney. Sulman Prize Exhibition, NSW Art Gallery, Sydney. Culture Trackers, 24HR Art NT Centre for Contemporary Art Darwin NT, Australia. Sydney 2002, Hill on Hargrave Gallery, Sydney. News from Islands, Campbelltown Arts Centre, Sydney. 2001 Berlin Art Fair. National Artists Self Portrait Prize, The University of Queensland Art Museum. Shanghai Art Fair. 2006 Between River and Lake, Jack Tilton Gallery, New York. Osaka Triennial 2001, Contemporary Art space, Osaka, Japan. 15th Anniversary Exhibition, Red Gate Gallery, Beijing. 7th NICAF, International Contemporary Art Festival, Tokyo. Living Water Dreaming Water, Sydney University Museums. Low-down, Monash University Gallery, Monash University, Melbourne. Flewrieu Peninsula Biennale, Mclaren Vale South Australia. HERMANNS 2001, Sherman Galleries, Tamworth City Gallery, Tweed River Regional Art Gallery, Yours, Mine & Ours 50 Years of ABC TV, Campbelltown Arts Centre. Hermanns Melbourne Stores, Bendigo Art Gallery, Mornington Peninsula Regional Gallery, 2006 The Year in Art, S. H. Ervin Gallery, Sydney. Wollongong City Gallery. Neram (Armidale), Lake Macquarie City Art Gallery, Harmony Sydney 06, Cheng Shifa Gallery Art Center Academic Shanghai. Hazel Hurst Regional Gallery & Art Centre, Bathurst Regional Art Gallery. 2005 Text Me – an exploration of body language, Sherman Galleries, Sydney. Asia in Australia Beyond Orientalism, Queensland University of Technology, Art Museum. The Nature Machine Contemporary Art Nature and Technology, Queensland Art Gallery. Clues to the Future, Red Gate Gallery, Beijing. The 10th Anniversary of Post – Earthquake Restoration Hyogo International Competition of Painting, 2000 Kwangju Biennale 2000, South Korea. Hyogo Prefectural Museum of Art, Japan. A Long Life, Water Mall, Queensland Art Gallery, Brisbane. The Wynne Prize Exhibition, Art Gallery of NSW, Sydney. Nepean Collection, Penrith Regional Gallery, Sydney. The Sir John Sulman Prize Exhibition, Art Gallery of NSW, Sydney. The Redlands Westpac Art Prize, Mosman Art Gallery, Sydney. In Between Realities …, Three on the Bund Gallery Shanghai, China. Lines of Descent, The family in Contemporary Asian Art, Queensland Art Gallery/Travelling exhibition. Western Front: art is a social space, Blacktown Arts Centre, Sydney. 1999 Five Continents and A City, Second International Salon of Painting, Museum of Mexico City, Mexico. Future Tense – security and human rights, Dell Gallery Queensland College of Art, Griffith University. Sydney 99, Australia & China Cultural exchange art exhibition, SGI Australia Cultural Centre, 2004 Process, Asia – Australia Art Centre, Sydney. Sydney and Cheng Shifar Gallery Art Centre Academic of Shanghai China. Cycle Tracks will abound in utopia, Australian Centre for Contemporary Art, Melbourne. Third Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane. Terra Alterius: Land of Another, Ivan Dougherty Gallery, COFA, The University of NSW. The Rose Crossing, Brisbane City Gallery, Hong Kong Arts Centre, Singapore Art Museum, SH Ervin Gallery. The Plot Thickens, Narratives in Australian Art, Heide Museum of Modern Art, Melbourne. Chicago Contemporary Art Fair, USA. Art TV 2004, Australian Centre for the Moving Image. Sulman Prize Exhibition, Art Gallery of NSW. 2003 Australia – Berlin, Hamburger Bahnhof Museum, Berlin. The Artful Cello, 3rd Melbourne International Music Competition and Festival, Melbourne. Science Fiction, Singapore Art Museum, Singapore. Persuasive Humonrs, Mosmant Gallery & Cultural Centre, NSW. The Dish Ran Away with the Spoon, Exploring Still life Academy Gallery, School of Visual and The 4th Kochi International Triennial, exhibition of prints. Performing Art, University of Tasmania. 1998 Canberra Drawing Biennale, Drill Hall Gallery, The Australian National University. Creating Paradise on Earth, Casula Powerhouse Arts Centre. To the Wall - and Back, Span Galleries, Melbourne. Ned Kelly Framed, National Trust’s SH Ervin Gallery. Ways of Being, Ivan Dougherty Gallery, The University of NSW. Austral-Asia zeros three, Sherman Gallery, Goodhope, Sydney. Culture Graft, 4A Gallery, Sydney. Isle of Refuge, Ivan Dougherty Gallery COFA UNSW, Sydney. Retake, Red Gate Gallery Beijing, China. Witnessing to Silence Art and Human Rights, Drill Hall Gallery ANU, Canberra. Skin / Culture, Eight Australian Artists, George Gallery, Melbourne. Hothouse the flower in contemporary art, State Library of Victoria, Geelong Art Gallery, National Beyond China, Campbelltown City Bicentennial Art Gallery, NSW. Library of Australia, McClelland Art Gallery, Gippsland Art Gallery. Sulman Prize Exhibition, Art Gallery of NSW. Tour to: Wollongong City Gallery, Bathurst Regional Art & About 2003, Open Gallery, Banner on Street City of Sydney. Art Gallery, Broken Hill City Art Gallery and Wagga Wagga City Art Gallery. New Borders – New directions, A space on Cleveland, Sydney. Cartoons and Caricature in Contemporary Art, Geelong Art Gallery, VIC. 2002 Dialogue with the Watchtower, Brisbane Jan Murphy Gallery, Melbourne Art Fair, Singapore Art Fair. 1997 John McCaughey Memorial Art Prize, exhibition, National Gallery Victoria, Australia.

34 35 Osaka Triennial, 1997-print, Japan. Four Artists Show, Jian Gou Men Wai Foreign Department, Beijing. Summer Exhibition, Sherman Galleries, Goodhope. 1987 Guan Wei and Ah Xian Paintings, Beijing University, Beijing. Za Moca Foundation, Tokyo. 1986 Autumn Salon Exhibition, Paris. In-Out, Contemporary Art from Main Land China and Overseas. Lasalle SIA College of the Arts Gallery, Exhibition of Four Artists, Beijing University, Beijing. Singapore, Tour to Australia. Asian art, at Australian National University Drill Hall Gallery, ACT. Drift, Penrith Regional Gallery. Anon ..., Sherman Galleries, Goodhope, Sydney. Selected Collection 1996 Fifth Australian Contemporary Art Fair, Melbourne. Monash University Acquisitive Art Prize, Monash University, Melbourne. Art Gallery of New South Wales Above and Beyond, Australian Centre for Contemporary Art, Melbourne; Institute of Modern Art, Brisbane; Art gallery of South Australia 24 HR ART, Darwin; Contemporary Art Centre of SA, Adelaide. Australian Art Bank. Red Gate Gallery, 5th Anniversary Exhibition, Beijing. Australian Embassy, Beijing. Compost Exhibition, Adelaide 96 Festival. Australian National University, Canberra. Flagging the Republic, Sherman Galleries, Goodhope. Contemporary Art and Culture Centre, Osaka, Japen. A Sense of Place, Bede Gallery, Jarrow, UK. Campbelltown Art Gallery Sydney 1995 3 x 3 Sites, Sydney, Christchurch, Auckland, Berlin, Canberra, Beijing. Deutsche Bank’s collection Work on Paper, Sherman Galleries, Sydney. Geelong Gallery VIC, Australia. The Collectable Eggbeater, Plimsoll Gallery, University of Tasmania. Gold Coast City Art Gallery, Queensland. Perspecta, Art Gallery Of New South Wales, Sydney. Griffith University, Queensland. 1994 Fourth Australian Contemporary Art Fair, Melbourne. Hanart TZ Gallery, Hong Kong. Localities of Desire, Museum of Contemporary Art, Sydney. Ian Potter Gallery, Melbourne University. Gold Coast City Conrad Jupiters Art Prize, Gold Coast City Art Gallery, Queensland. Monash University VIC, Australia. 94 Open, Artspace, Sydney. Mosman Art Gallery, Sydney. New Art from China, Noosa Regional Gallery, Queensland. Museum of Contemporary Art, Sydney. 1993 Second Asian Art Fair, Hong Kong. National Gallery of Australia, Canberra. Silent Energy, Museum of Modern Art, Oxford, UK. National Gallery of Victoria. Mao Goes Pop, China Post-1989, Museum of Contemporary Art, Sydney. Nillumbik Art Gallery VIC Australia. New Art in China 1989/93, Hanart Gallery, Taipei. Powerhouse Museum Sydney. New Art from China, Post-1989, Hong Kong Arts Centre. Parliament House Canberra, Australia. Six Contemporary Chinese Artists, Griffith University Art Gallery, Brisbane. Parks Victoria Melbourne VIC. 1992 Third Australian Contemporary Art Fair, Melbourne. Queensland Art Gallery, Brisbane. Six Contemporary Chinese Artists, Space YZ University of Western Sydney. Sydney Grammar School Chinese New Wave, Chameleon Contemporary Art Space, Hobart. Tokyo Gallery Japan. Orientations - The Emperor’s New Clothes, Irving Galleries. University of Queensland 1991 Echoes of China - From Behind the Bamboo Curtain - Three contemporary Chinese Artists, Irving Galleries University of New South Wales,Sydney. (renamed Sherman Galleries in October 1992), Sydney. University of Tasmania, Australia. Twelve Contemporary Chinese Artists, University of Sydney. University of Technology, Sydney. 1990 Three Chinese Artists Show, Plimsoll Gallery, Tasmanian School of Art, Hobart. University of Western Sydney, Nepean. Lun Exhibition, (six artists works), Beijing. Western Australian Art Gallery, Perth. 90 International Youth Art Show, Paris. Wesfarmers West Australia. Contemporary Chinese Young Artists Works, Twin Cranes Gallery, Seattle, USA. Ullens Center for Contemporary Art (UCCA) in Beijing. 1989 Exhibition of the Second Party of the Survivors Poet Club, Beijing Central Drama Institute. He Xiang Ning Art Museum, China. Individual Paintings, Beijing Teachers Institute, Beijing. Private collections. 1988 Alumni Painting Exhibition, Beijing Teachers Institute, Beijing.

36 37

BIRD ISLAND July 6 - August 6, 2011

Open daily: 11:00am to 7:00pm

Raffles Hotel Arcade 328 North Bridge Road, #01-04 Singapore 188719

e [email protected] t + 65 6338 1962 f + 65 6338 6192 w www.chanhampegalleries.com