Sui Jianguo China/China

Total Page：16

File Type：pdf, Size：1020Kb

forms of the formless Sui Jianguo China/China Geboren 1956 in Tsingtau. Professor und Vorsitzender der Bildhauerei der Zen- Born 1956 in Qingdao. Professor and chairman of the department of sculpture, tralakademie der Bildenden Künste, Peking. Einzelausstellungen: 2011 "Den Central Academy of Fine Arts, Beijing. Solo exhibitions: 2011 "The Hague Under Haag Unter dem Himmel – Suijianguo Skulptur", Museum Beelden aan Zee, Heaven – Suijianguo Sculpture", Museum Beelden aan Zee, Hague; 2010 "Made Den Haag; 2010 "Made in China von Sui Jianguo", Kunst Ausstellungsprojekte, in China by Sui Jianguo", Art Issue Projects, Beijing; 2009 "Motion/Tension: Peking; 2009 "Bewegung/Spannung: Neue Arbeiten von SuiJianguo", Today Art New Work by SuiJianguo", Today Art Museum, Beijing; 2008 Art Time Square, Museum, Peking; 2008 Art Time Square, Hongkong; "Aufschlussreiche Spuren", Hong Kong; "Revealing Traces", Joyart, Beijing; 2007 "Dian Xue – Sui Jianguo Joyart, Peking; 2007 "Dian Xue – Sui Jianguo Kunstwerke", OCAT, Shanghai; "Be- Art Works", OCAT, Shanghai; "Speeding up – Sui Jianguo Space Video", Arario, schleunigung – Sui Jianguo Raum Video", Arario, Peking; 2005 "Sui Jianguo: Der Beijing; 2005 "Sui Jianguo: The Sleep of Reason", Asian Art Museum, San Francis- Schlaf der Vernunft", Asian Art Museum, San Francisco, USA; 1999 "Clothes Veins co; 1999 "Clothes Veins Study", Passabel ge Gallery, Beijing; 1997 "You Meet the Study", Passabel ge Galerie, Peking; 1997 "Du Triffst den Schatten von Hundert Shadow of Hundred Years", Victoria College of the Arts, Melbourne. Numerous Jahren", Victoria Hochschule der Künste, Melbourne, Australien. Zahlreiche Grup- group exhibition in China, South Korea, Cuba, USA, UK, Taiwan, Poland, The Ne- penausstellungen: China, Südkorea, Kuba, USA, Großbritannien, Taiwan, Polen, therlands, Finland, Russia, The Philippines, Canada, Germany, Australia, Greece, Niederlande, Finnland, Russland, Philippinen, Kanada, Deutschland, Australien, Japan, France, Norway, Belgium, Brazil, Italy, Singapore. Griechenland, Japan, Frankreich, Norwegen, Belgien, Brasilien, Italien, Singapur. Form der Zeit, laufendes Projekt, Gießharz, Objektgrösse: 70x25x25 cm The Shape of Time, ongoing project, resin copy, object: 70x25x25 cm 42.

Copy Link

Recommended publications

Update on the City of Richmond Public Art Program Participation In
GP - 29 GP - 30 GP - 31 GP - 32 Attachment 1 Olas de Viento (Wind Waves) Yvonne Domenge (Mexico) Garry Point Park 2772874 GP - 33 Attachment 2 Artist: Sui Jianguo (China) Many of Sui’s early works reflect his personal experiences and explore, to a lesser or greater extent, his anxieties and feelings of imprisonment. He began his ‘Mao Suit’ series in 1997. This series can however be regarded as the conclusion of an important stage in his self-exploration. He draws on the powerful image of the Mao suit, not as an element of revolutionary attire but as a symbol of restriction and limitation. Sui suggests that none of the Chinese has truly taken off their Mao suits even though the revolutionary era is over. Sometimes Sui makes the Mao suits resemble Buddhas and at other times he turns them into hard shells. Recently, Sui has made fairly humorous, soft and almost transparent Mao suits. The Mao suit is perhaps coming to represent to the artist an object of fun. Over all, Sui's work has well represented the views and expressions of his generation, the generation that survived Mao's Cultural Revolution. http://www.artzinechina.com/display.php?a=89 Title: MaoJacket Curator: ShengTianZheng Dimensions Can be made in various sizes, depending on site. Weight tbd Material Retail(replacement)value Installationsite&Requirements Can be installed indoors and outdoors. Must be installed on an even surface. Partnership The Biennale will pay for artist’s accommodation, flight, engineering certificate, shipping costs, cataloguing, marketing and promoting the work and the community that it will be located in, and will oversee the installation The City of Richmond will oversee the site preparation and site approvals.
[Show full text]
Pping Surviving Remnants of Classical Chinese Civilization to Create Experimental Artworks
Chinese Sculptors' Exploration of Ancient Traditions Sparks Artistic Rebirth BEIJING — A generation after Chairman Mao Zedong set out to destroy China’s millennia-old artistic and religious traditions — in part by razing temples, closing art schools and sending artists and Buddhist priests to re- education camps — a new wave of sculptors here has begun tapping surviving remnants of classical Chinese civilization to create experimental artworks. In Sui Jianguo's "Discobolus" the classical Greek statue dons a Mao suit. The process of exploring ancient beliefs and art, they say, is aimed not only at resurrecting pieces of China’s past but also at helping spark a widening cultural renaissance. Tang Yuhan, born in 1985, nearly a decade after Mao’s passing marked the close of the Cultural Revolution, said that she and other young artists have started sifting through the centuries to transmute some aspects of classical culture into “art for the new generation.” In an upcoming exhibition of her works at Gallery Yang in eastern Beijing, Ms. Tang will transform the space through precisely placed works like “Flowing Water,” where sunlit raindrops seem to defy gravity to fall on the ceiling, and “Heaven and Earth,” an otherworldly solar system where blue planets and orange asteroids orbit an invisible sun. Her goal is to create a space that is in perfect balance according to the 2,500-year-old principles of the I Ching, or the Book of Changes, which provides guidance on how to navigate a cosmic web of links between heaven, earth and humanity. “We can use the I Ching and the related concepts of feng shui not only to divine the future but also to change our individual destiny, and that is my aim with these works,” said Ms.
[Show full text]
Sui Jianguo the Sleep of Reason
Sui Jianguo The Sleep of Reason Jeff Kelley Oakland, California, December 2004 Sui Jianguo is one of China’s most significant artists. A sculptor, he has become internationally recognized for works that challenge the ideological assumptions and historical origins of Chinese Socialist Realism, the style in which he was trained. His challenge has not been unique: an entire generation of Chinese artists, beginning in the mid-1980s, defined itself in opposition to the idea of an “official” art, an opposition resulting in one of the most urgent and compelling art scenes of the past twenty years – the Chinese avant-garde. Unlike many of his contemporaries, however, Sui did not adopt an attitude of feigned, ironic detachment (often referred to in the 1990s as “cynical pop”) from all things official. Rather, he has chosen to remain inside the academy, as it were, producing sculptures that are like ghosts (and demons) in the abandoned temples of Socialist Realism. Working in bronze, steel, fiberglass, and plastic, and on a scale that ranges from key chains to monuments, Sui has created a suite of iconic forms – such as free-standing, but hollow (and headless), “Mao jackets,” a chorus line of ancient Greco-Roman statues outfitted in Communist Party attire (“Mao suits”), and a swarm of “made-in-China” dinosaurs, some tiny, other mammoth – that bear witness to the once-revolutionary fervor that animated the otherwise rigid academic formulae of official Chinese art. Sui’s sculptures also bear witness to China’s current revolution: its unparalleled transition from a closed society driven by political ideology to a society newly awakening to a potent combination of nationalism and capital.
[Show full text]
Chinese Contemporary Art-7 Things You Should Know
Chinese Contemporary Art things you should know By Melissa Chiu Contents Introduction / 4 1 . Contemporary art in China began decades ago. / 14 2 . Chinese contemporary art is more diverse than you might think. / 34 3 . Museums and galleries have promoted Chinese contemporary art since the 1990s. / 44 4 . Government censorship has been an influence on Chinese artists, and sometimes still is. / 52 5 . The Chinese artists’ diaspora is returning to China. / 64 6 . Contemporary art museums in China are on the rise. / 74 7 . The world is collecting Chinese contemporary art. / 82 Conclusion / 90 Artist Biographies / 98 Further Reading / 110 Introduction 4 Sometimes it seems that scarcely a week goes by without a newspaper or magazine article on the Chinese contemporary art scene. Record-breaking auction prices make good headlines, but they also confer a value on the artworks that few of their makers would have dreamed possible when those works were originally created— sometimes only a few years ago, in other cases a few decades. It is easy to understand the artists’ surprise at their flourishing market and media success: the secondary auction market for Chinese contemporary art emerged only recently, in 2005, when for the first time Christie’s held a designated Asian Contemporary Art sale in its annual Asian art auctions in Hong Kong. The auctions were a success, including the modern and contemporary sales, which brought in $18 million of the $90 million total; auction benchmarks were set for contemporary artists Zhang Huan, Yan Pei-Ming, Yue Minjun, and many others. The following year, Sotheby’s held its first dedicated Asian Contemporary sale in New York.
[Show full text]
Pastiche and Parody As a Post- Modernist Form of Cultural Identity
Classical Art with Chinese Characteristics: Pastiche and Parody as a Post- Modernist Form of Cultural Identity Hannah Kirk Yenching Academy, Peking University June 2019 Introduction Pastiche has held a long-lasting presence in the artistic process. For centuries and across cultures, masters have copied the techniques and shared the subject matter eternalised by their predecessors. Most definitions of pastiche are synonymous with this process of copying in varying degrees of approval, ranging from accusations of near plagiarism to more sympathetic understanding of added creativity in layers above the original. This essay considers the definitional scope of pastiche as a foundation to its treatment as a legitimate post-modernist art form. The Jamesonian ‘blank’ and ‘blind’ pastiche where overlapping symbolism across eras or cultures renders all lost in meaning is contrasted against the ‘Hutcheonian transcontextual parody’ whereby the artist conveys precise meaning through the transplanted historical and cultural narrative. The suitability of such a definition for the Chinese context is considered in the past but also the present. Choice of artistic form reflects on the question of how best to portray cultural identity and I argue this art form has unique high-level interpretability by layering political and social comment between Western and Eastern artistic ideals, now and across time. As such, China’s modernity is painted amidst a complex maze of historical references, forms and ubiquitously recognisable imagery. In order to clarify the precise and poignant purpose of parody for modern Chinese artists, three examples will be presented in the form of two case studies and one comparative study across renditions of the same painting ‘The Last Supper’.
[Show full text]
Arts Agenda ‘Existence,’ and Reveal Both How Human Lan- Guages Are Constructed and How Spaces Are Defined
38 ative possibilities of these three colours in rela- standing paintings and woodblock illustrations selves the dignity of the activities of everyday Singapore 179555 ‘existence,’ and reveal both how human lan- tion to local cultural and social issues. Works from the museum’s own collection. life; to understand more deeply the relevance T +65-6332 7798 guages are constructed and how spaces are > Arts agenda by twenty local creative talents from different of preserving and adapting their cultural her- www.nhb.gov.sg/ACM developed and defined. generations and a diversity of professions - Rautenstrauch-Joest-Museum für Völkerkunde itage to the challenges they face in the 21st cen- including graphic/visual design, architecture, Ubierring 45 tury; and to build the capacity for transforming Until 20th April 2005 Until 1 May 2005 photography, installation and others - are fea- 50678 Cologne their lives for the better by harnessing the Chinese Export Silver Ecstasy: The Visible and Invisible Exhibition tured in the show. T +221-33694 35 undertapped power of the creative spirit. The Asian Civilisations Museum presents This exhibition was chiefly designed for the IIAS Newsletter | #36 | March 2005 www.museenkoeln.de Chinese Export Silver, a decorative art that devel- visually impaired, but the needs of the general Until 10 June 2005 Netherlands oped during the mid Qing dynasty (1644 - 1911) public were also taken into consideration. The From Eastern Han to High Tang : A Journey of Until 2 October 2005 Groninger Museum when European merchants commissioned Chi- exhibit creates an environment of contempo- Australia Transculturation Buddhist, Jains and Hindus in Search of the Museumeiland 1 nese copies of European silverware for their rary art in which viewers must use all of their The National Gallery of Victoria -International To explore the artistic and cultural changes that Divine Image 9700 ME Groningen home markets.
[Show full text]
Sui Jianguo Bio
ARTIST - Sui Jianguo Born in Qingdao, Shandong province, 1956 Lives and works in Beijing EDUCATION - 1984 BA in the Fine Arts Department from the Shandong University of Arts 1989 MA in the Sculpture Department from the China Central Academy of Fine Arts, where he currently presides as the Head of the Sculpture Department CAREER - 1994 UNESCO - Aschberg International Foundation for the Promotion of Culture 1989 - 1997 Associate Professor, Sculpture Department, CAFA 1997 Victoria College of Arts, Melbourne University Travel Grant for Young Asian Scholars 2000 Teaching at Ensba, Paris as a Guest Professor three months Currently lives in Bejing, China / Vit à Beijing (Chine). Director of the Sculpture Department for the Académie des Beaux Arts. SOLOS & COLLECTIVE SHOWS - 2014 Beijing Voice : Relations, Pace Beijing (December 10th, 2013 - March 08th, 2014) 2013 Experiments in Chinese Contemporary Art, The Exhibition: Round 1 Conformation and COnsciousness - Today Art Museum, Beijing, China He Xiangning Art Museum of Contemporary Art, Shenzhen, China Pace Gallery ’s Artists in Venice 2013 - 55th International Art Exhibition La Biennale di Venezia 2012 The 7th Shenzhen Sculpture Biennale: Accidental Message -OCAT, Shenzhen, China The Special Show for The First International Festival of Contemporary Sculpture- Kiev (Ukraine) Sui Jianguo's Discus Thrower - The British Museum, London, UK 79 RUE DU TEMPLE 75003 PARIS - T +33 (0)1 43 26 12 05 F +33 (0)1 46 33 44 83 [email protected] WWW.GALERIEMITTERRAND.COM Sui Jianguo - Pace Beijing, 798,
[Show full text]
Exhibition Didactics
LACMA Exhibition Didactics The Allure of Matter: Material Art from China Whether unusual or generic, natural or artificial, elements such as gunpowder, water, plastic, used clothes, and human hair have been adopted by Chinese contemporary artists as their preferred mediums over time. In his conceptualization of this exhibition, art historian and curator Wu Hung develops the notion of “material art”―a mode of expression in Chinese contemporary art spanning nearly four decades―around these unique practices, brought together for the first time in The Allure of Matter. Materialism has become inseparably intertwined with contemporary life, often thought of as the antithesis of spirit. However, within the context of material art, these two seemingly disparate qualities find harmony―objective matter becomes essential in portraying the subject. Elevating medium over image and object, material art generates tension and conflict with conventional art forms. Used in painting, sculpture, installation, and performance, these signature materials transcend standard art forms to function as superagents that hold particular significance and strongly convey meaning. Material art emerged in China in the 1980s and flourished in the 1990s and early 2000s. In the beginning, defiant young artists gravitated to this kind of art making for its radicalism and cosmopolitanism. Gradually, the distinct languages and aesthetics of this practice became the shared property of contemporary Chinese artists and continue to influence younger generations today. Ai Weiwei Chinese, b. 1957 Tables at Right Angles, 1998 Tables from the Qing Dynasty (1644–1911) Contemporary Art Council Fund Stockamp Tsai Collection Tables at Right Angles exemplifies Ai Weiwei’s strategy of altering, transforming, and often destroying cultural relics and historic antiques.
[Show full text]
SUI JIANGUO 12 September – 18 October 2014 Opening Reception: Friday, 12 September, 6-8 Pm Valet Parking
FOR IMMEDIATE RELEASE September 2014 Media Contacts: Christina Carlos Elizabeth East Telephone: 310-822-4955 Email: [email protected] [email protected] SUI JIANGUO 12 September – 18 October 2014 Opening reception: Friday, 12 September, 6-8 pm Valet parking Schwarzwald, 2014 bronze, 93 x 199 x 80 in. (236.2 x 505.5 x 203.2 cm) Venice, CA – L.A. Louver is pleased to present a solo exhibition by Chinese artist Sui Jianguo that includes eleven sculptures, which span more than 15 years. This is Sui’s first exhibition at L.A. Louver and his U.S. gallery debut. Ranging in scale and subject matter, the works embody Sui’s interest in both figurative and non-representational form, as well as varied approaches to making sculpture. Two figurative works challenge social and political ideologies. The earliest, Bound Slave (1998) borrows from Michaelangelo’s The Rebellious Slave (1513). Sui clothes this celebrated form in a “Mao suit,” the iconic garb of China’s Communist Party under the leadership of Mao Zedong. Cast from bronze and painted white, Sui effectively conceals the expressive nude with the garment synonymous with Mao’s repressive regime. In The Right Hand(2008), Sui portrays Mao’s right arm. Derived from the portrait of Mao with his outstretched hand, Sui renders the disembodied arm lifeless, as if it is an archeological relic, and thereby depriving the gesture of its potency. All other sculptures in the exhibition are dated 2014, and include the largest sculpture, Schwarzwald. Inspired by time Sui spent in Germany’s Black Forest, the viewer is confronted by a monumental wall (measuring 93 x 199 x 80 in.
[Show full text]
Yishu 26 Final.Pdf
: 8 May 2008 | Volume 7, Number 3 Inside Artist Features: Sui Jianguo, Zhan Wang, Ye Yongqing Guggenheim Museum’s Asia Art Council Symposium: Part 1 A Home Conversation at the Beijing Pavilion Some Perspectives on Performance Art Review of Cai Guo-Qiang’s I Want to Believe US$12.00 NT$350.00 0 VOLUME 7, NUMBER 3, MAY 2008 CONTENTS 6 Editor’s Note 9 8 Contributors Artist Features 10 A Secret Anti-modernist: Sui Jianguo and His Retirement Project Chang Tsong-zung 22 World-making and Mirror Reflection: Zhan Wang’s Art in Time and Space, Between Worry and Wandering Kao Chienhui 29 Nonexistent Reality: A Discussion between Li Xianting and Ye Yongqing 6 Guggenheim Museum’s Asian Art Council Symposium 41 Part 1: What is the Mission of Asian Art Curators in the Age of Globalization? Some Perspectives on China Now 56 The Gelatin Age: Contemporary Chinese Art’s New Power Zhang Qing 70 The Return of the Individual: A Home Conversation at the Beijing Pavilion 86 Some Perspectives on Performance Art 78 Male Body Fatigue Lesley Sanderson 86 Majong 2007 at PERFORMA07: Interview with He Yunchang Rachel Lois Clapham 90 Neatly Arranged Freedom, Present Absences, Dislocated Contexts, and Signs of Our Times: Some Readings of Dai Guangyu’s Art Maya Kóvskaya 90 Reviews 99 Cai Guo-Qiang: I Want to Believe Jonathan Goodman 106 Chinese Name Index 98 Cover: Ye Yongqing, Bird, 007, acrylic on canvas, 00 x 0 cm. Courtesy of ChinaSquare Gallery, New York/Beijing. Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien r Ken Lum One third of the content in Yishu 26 is generated from the spoken word rather than the written r Keith Wallace word.
[Show full text]
SUI JIANGUO Dream Stone Exhibition from November 6 to November 20, 2010 Opening on Friday November 5 from 6 Pm to 9 Pm
JGM. PRESS RELEASE Galerie SUI JIANGUO Dream Stone Exhibition from November 6 to November 20, 2010 Opening on Friday November 5 from 6 pm to 9 pm JGM. Galerie is pleased to host the personal exhibition of Sui Jianguo , one of the most influential artists on the Chinese contempo- rary scene. Born in 1956 in Qingdao in Shandong province, he lives and works in Beijing and has had an outstanding career, regularly exhibiting in China but also in Australia, Hong Kong, India, Taiwan, and more re- cently the United States. At the same time he holds an important teaching position in the sculpture department of the Central Academy of Fine Arts in Beijing, which is highly regarded in China. The artist is known for his great interest in sculpture. He constantly uses the symbolic power of materials by working with gra- nite, steel or clay. These invoke not only his subjective experience, but also the recent and gloomy past, which he witnessed first hand and whose misadventures he suffered. His works have a strong material and aesthetic presence and continuously raise questions about contemporary Chinese history and the future of his country and its people. The technical mastery that characterizes his work creates an association and a confrontation between the materials, in resonance with his perception of life and his deep understanding of the history of sculpture. Sui Jianguo has become known worldwide for using, in the form of exorcism, Maoist iconography and, in particular, the famous jacket of President Sun Yat Sen, worn by the comrade president. Because of this he is per- ceived as a major interpreter of the way in which economic transition is reflected in art.
[Show full text]
The Cult of Rodin: Words, Photographs, And
THE CULT OF RODIN: WORDS, PHOTOGRAPHS, AND COLONIAL HISTORY IN THE SPREAD OF AUGUSTE RODIN’S REPUTATION IN NORTHEAST ASIA _____________________________________________________________________ A Dissertation presented to the Faculty of the Graduate School University of Missouri-Columbia ________________________________________ In Partial Fullfilment of the Requirements of the Degree Doctor of Philosophy ___________________________________ by HYEWON LEE Dr. John Klein, Dissertation Supervisor December, 2006 © Copyright by Hyewon Lee 2006 All Right Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the dissertation entitled. THE CULT OF RODIN: WORDS, PHOTOGRAPHS, AND COLONIAL HISTORY IN THE SPREAD OF AUGUSTE RODIN’S REPUTATION IN NORTHEAST ASIA Presented by Hyewon Lee A candidate for the degree of Doctor of Philosophy And hereby certify that in their opinion it is worthy of acceptance. Professor John Klein Professor James McCartney Professor Norman Land Professor Kieth Eggener Professor Kristine Schwain To Dongha and Dongyoung Lee ACKNOWLEDGEMENTS I would like to express my appreciation to many individuals and institutions for supporting this study. I thank Professor John Klein for his advice on expanding my research on Rodin in the early stages of this research and for providing support in the various phases of its development. I am also grateful to my dissertation committee members, Professors Keith Eggener , James McCartney, Norman Land, and Kristin Schwain for their insights. I thank Mme. Verginie Delaforge and Mme. Hélène Pinet at the Musée Rodin, Paris, who kindly opened their archives even on the days for closing and provided all the available resources that I needed at the archives. Mackenzie Bennett at the research center of the Museum of Modern Art, New York, helped search for press cuttings from the 1963 Rodin exhibition held at the museum.
[Show full text]