Tag: Female artist

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Contemporary 当代 艺术家

Contemporary | Feng Bingyi – The World Under the Interweaving of Time and Space

[:en]feng bingyi[:]

Feng Bingyi, born in Ningbo in 1991, entered the Cross Media Art School of China Academy of Fine Arts in 2009.

Entered the Experimental Imaging Studio in 2011. Graduated from the Cross Media Art School of China Academy of Fine Arts.

Graduated from Chelsea School of Art, University of the Arts London with a Master’s degree in Fine Art.I currently work and live in Shanghai.

About Helga and Others

This young artist born in 1991 has emerged in the contemporary art world with his unique artistic style.

Above all,her works are not only refreshing.

In other words, also leading a new trend of artistic innovation.

Feng Bingyi’s Art Language

Feng Bingyi’s works have always been known for their delicate and fresh artistic language and unique spatial painting forms.

The work is a young artist who constantly explores and innovates in the field of visual art. Her artistic philosophy is deeply influenced by image art and film.

Using visual language between the two as a means of expressing thoughts and emotions.

Feng Bingyi’s works are not only simple records of reality, however the process of constructing a confident narrative space.

Firstly, starting from Romanticism, starting from the enormous connection between humans and the universe.

Secondly, similarly then returning to the natural connection between humans and the universe.

Further the artist hopes to use her curiosity and admiration for the universe.

Similarly to bring people back to the equally peaceful and hopeful starry sky.

Time Slice Museum

Feng Bingyi’s Style

Feng Bingyi’s characteristic is to use visual language between visual art and film as a medium of expression.

And to construct a narrative space of self perception through poetic language. Her works clearly perceive the deepening relationship between text and images.

Usually, it takes text as the starting point for creation, finds logical breakthroughs through text annotations and explanations. This creative approach fills Feng Bingyi’s works with uncertainty and openness, providing audiences with rich interpretation space.

Time Slice Museum

Feng Bingyi is attaches great importance to the influence of different possibilities between space, text, and narration on visual language.

Therefore,her creative forms including visual installations, photography, and animation, all of which provide a broad stage for the presentation of Feng Bingyi’s artistic concepts.

Feng Bingyi’s artistic style is unique and clear, and her works are full of poetry and philosophy.

She knows how to observe and interpret the world with a kind gaze, and conveys a gentle and firm power through her works.

Time Slice Museum

Her works no longer use abstract symbols popular after World War II, after that is also simplify storytelling through concrete images.

And this type of “reproduction” is not simply imitating, but rather presenting hidden truths in scenes.

Allowing the public to have countless possible moments in the visual perception of their works.

This sense of interweaving time and space fills his works with mysterious and fantastical colors.

Giving people a feeling of being in a fantasy world beyond reality.

Feng Bingyi’s Exhibition

In conclusion exhibitions such as “She Walk in Beauty”, “Fool’s Gold”.

The main group exhibitions include “The Story of Your Life I” (Long March Space, Beijing), “Taiping Guangji” (Red Brick Art Museum, Beijing), “The Goodable Strange” (UnArt Center, Shanghai), “Endless Grass” (Delaware Contemporary Art Museum, USA), “Retreat the Waves” (Helsinki Image Art Festival, Finland), and Berlin PANDAMONIUM – Media Art From Shanghai.

Sources

[AAC Special Article] Feng Bingyi: My creative ideas and myself have grown together

Your Life Story II | Feng Bingyi

Feng Bingyi: Cold Facts

Character | Feng Bingyi: A World Interwoven with Time and Space

Categories
Contemporary 当代 艺术家

Contemporary｜Chen Dandizi – Multimedia Art and the Human Emotional Environment

[:en]chen dandizi[:]

Chen Dandizi was born in Hezhou, Guangxi, China in 1990. And graduated from the Oil Painting Department of Guangzhou Academy of Fine Arts in 2015. Her learning experience has laid a solid artistic foundation for her.  During her school years, she not only systematically learned oil painting techniques.

But also extensively explored various art fields such as video recording, installation, photography, and literature. These diverse learning experiences provided her with rich sources of inspiration for her artistic creations.

Thorn Crown, by Chen Dandizi detail：78 x 60 x 5cm stainless steel baked paint 2020

Her artistic journey began with a love for beauty and a profound insight into the world. Through observation, experience, and reflection on life. And her works convey profound humanistic care and a keen perception of the changing times. Chen Dandizi ‘s works have the characteristic of media symbiosis.

And she is good at using different artistic media to express her thoughts and emotions. Her works include the video series “Rooms” and a series of works without a series, such as “Deep Relax”, “Cosma”, and “Futurism”.

art work by Chen dandizi

Among them, in the video work “Rooms”. She creates a tense and oppressive atmosphere by repeatedly turning on and off the cool tones and indoor light sources.

The changes in the room only occur in the darkness when the lights are off, and in this darkness, people never appear. Leaving only the sound of knives and forks colliding on the dining table in the darkness.

This metaphor surrounding the absence and concealment of the physical body explores the drifting and unreliance of human psychological states in modern society.

This work not only reveals people’s sense of loneliness in modern life, but also showcases Chen Dandizi ‘s profound understanding of human nature and keen grasp of the times.

Photo by Timo Ohler, courtesy of the artist and Hua International, Exhibition Designed by Krista Xueying Yu
The video installation by Chen dandizi

Chen Dandizi said that he is a contradictory person

She grew up in a damp “southern green” environment, and her memories of it were vivid and vivid. “Every spring and summer, plants appear washed green, and the roots, leaves, and branches are filled with water vapor.” The scene of returning to the southern sky became clearer and more specific. “The ceramic walls of the building were” shedding tears “, and the moisture of moss dyed the white walls green. People and animals and plants are receiving the warmth and humidity of nature together.” Such memories continue to influence Chen Dandizi ‘s creation.

courtesy of the artist and Hua International,by Chen dandizi

Her works always explore the alienation of human emotions, the hopes and despair of alienated individuals, and the observation of natural and imagined landscapes through the depiction of recurring phenomena in both the natural and artificial worlds. Her works create a new visual experience by recombining and transforming everyday objects, leading the audience to rethink the real world.

The installation art work by Chen dandizi

Chen Dandizi ‘s artistic exploration theme always focuses on self-awareness and observation of the living environment, hoping to reveal the hidden relationship between unique moments and emotions.

Chen Dandizi ‘s flute explores the depths of human spirit and the changes of the times through his artistic practice, conveying his love and care for life, society, and nature through his works.Her works have been exhibited at Hull Space Beijing Space, Yinchuan Contemporary Art Museum, Berlin Gallery Week K60 Group Exhibition, New Century Contemporary Art Foundation, Times Art Center (Berlin), UCCA Ullens Contemporary Art Center, etc.

Sources

HUA INTERNATIONAL

ARTIST

On the coldest winter day in Beijing, hide in the “tropical room” of Chen Dan’s flute

Chen Dan’s Flute | Capturing Sensory Experience and Perception in an Instant

Categories
Contemporary 当代 艺术家

Contemporary｜Qian Ningyue – Cooking always accompanies me, giving me a soothing feeling

[:en]qian ningyue[:]

Qian Ningyue is a student at the Royal College of Arts in the UK and a Chinese sculptor currently living in London.

Qian Ningyue is working

She has her own independently created brand called Fanyuan, which is an art furniture brand derived from the Century 1080 Project.

Inspired by the unique charm of ancient gardens in the East, it combines quality and smooth yet visually appealing stainless steel materials.

Works of Qian Ningyue

Qian Ningyue, as an artist, often uses her insights as an observer of daily life to achieve artistic works.

She has established a research method using recording as a means to explore what we overlook in the process of discovery.

And what things have the potential to break through real-time memory.

Qian Ningyue magnifies individual features that are easily overlooked in daily life through his works.

In this way, Qian Ningyue creates opportunities for contradictions to overlap and carries out a corrective operation in a balanced state. This is an experiment conducted by artists on the logic rooted in the audience’s minds.

Qian Ningyue：Pillar

The installation art work <Pillar> by Qian Ningyue” class=”wp-image-1643″/></figure> <p class=Qian Ningyue’s artwork “Pillar”, she planted plant seeds in the flower mud and constantly watered them to help them grow.

The bricks used in the building and the naturally growing plants left behind after demolition attract it. For artists, it is like a symbol, like the unity of “you have me, I have you” in the home. However, due to its strong permeability, plants can only choose to survive and cannot grow during the growth process.

They can only maintain a fixed posture to maintain life, without a complete circulatory system.

The work of artist : Pillar

Qian Ningyue：Cooking always accompanies me and gives me a soothing feeling

The artist is working with the art work <Cooking> ” class=”wp-image-1645″/></figure> <p class=when the artist came to London to study, Qian Ningyue, as a non-native speaker, cured her unsafe emotions through cooking. She said, “Cooking always accompanies me and gives me a soothing feeling”.

Baking expert Xiaoqu once said, “Dough has emotions. Only when you treat it gently will it repay your tenderness.”

Qian Ningyue’s creative inspiration comes from cooking works. She uses materials such as dough and sugar, and uses time as a medium to change its extensibility state and on-site cooking methods. These seemingly fragile materials are combined to create structures and continuously expand unstable boundaries. By controlling the state of the dough material, Qian Ningyue divides it into two states. Firstly, after cooking, it can slowly dry and crack over time. Secondly, controlling the dryness of the dough allows it to maintain a permanent state, making it convenient to move and transport the same substance in different states.

The different contexts in which the material is in the environment are expressions.

Qian Ningyue has been using and enjoying in her creations.

installation art work <Cooking> by Qian Ningyue” class=”wp-image-1646″/></figure> <p class=Bread fermentation is a long process that requires appropriate temperature and humidity.

As well as the patience and gentleness of the baker. Flour, butter, eggs, milk… You combine these raw materials in a certain proportion, and watch them turn into dough in your hand.

At the temperature of your palm, it spreads from a small ball of dough to a large, soft, and white ball of dough. In this process, you can let go to a state where you forget everything.

Licking one’s own life is like a maltose

And Camus also said, “Licking one’s own life is like a maltose, shaping it, sharpening it, loving it, and searching for the final decisive word, image, or sentence that can be used as a conclusion, starting with it, and seeing everything through it from then on”.

Based on Qian Ningyue’s exploration of cooking materials in art, she integrates daily kitchen ingredients into the artistic process. Inspired by the transformative nature of cooking and the extensibility of ingredients, Qian Ningyue’s creations blur the boundary between culinary art and visual art.

She providing a unique sensory experience that challenges the limitations of traditional art.

Qian Ningyue unexpectedly manipulated dough and sugar, breaking through the limits of materiality and temporality in her artistic works. The interaction between the perishability of cooked dough as it dries and breaks over time.

And the controllable preservation of the dough in its permanent state.

In addition, her exploration of different states of the same material and the influence of environmental context on material expression have added complexity and depth to her artistic practice.

By utilizing the brevity of materials and the fluidity of explanations, the audience also contemplates the brevity of art and the constantly changing relationship between materials and the surrounding environment.

The foto of art work by Qian Ningyue <Cooking> ” class=”wp-image-1647″/></figure> <h2 class=Sources

Baking Those Things (3)

Camus: My life is like a hot dough repeatedly kneaded

Qian Ningyue

Categories
Contemporary 艺术家

Contemporary｜Tan Jing – Ah Xiong has run away

[:en]tan jing[:]

Tan Jing, born in 1992 in Guangdong Province, China, currently resides in Guangzhou. She graduated from Chelsea College of Arts and Royal College of Art in London, UK. She now lives and works in Jingdezhen and Shenzhen.

Tan Jing’s works have been exhibited at institutions such as the Shanghai Bund Art Museum, Guangzhou Huangbian Contemporary Art Research Center, Beijing X Art Museum, Hong Kong Parasite, Guangdong Times Museum, and the Basel Toy World Museum.

Tan Jing specializes in exploring the forms of individual materials and the nature of the materials themselves.

Her works are always based on light inspiration, imagination, biology, Chinese traditional folklore.

The material properties of the real world, and Tan Jing’s unique personal expression.

Her artistic practice mainly involves sculpture and multimedia installations.

After that she excels in using materials such as scents, glass, and biological secretions.

Trancing Lap Hung, 2021

Her creative inspiration often blends personal history, biology, folklore, and magical elements to distill unique emotional experiences and insights. Tan Jing enjoys experimenting with materials in specific environments to evoke sensory experiences and communication on objects.

She explores how the sensations in the realm of imagination can flow out and allow viewers to enter the same virtual space through imaginative forms of communication.

Trancing Lap Hung, 2021. Herbs and spices, plaster, wire, aroma essence, soil, H. 200 × W. 200 cm. Courtesy of the artist.

In other words, sensitive to life but not fragile.

For instance Tan Jing’s art often focuses on the subtle emotions and traumas within individuals.

Therefore she utilizes the efficacy of objects or spaces in her expressions, creating impacts on viewers aesthetically or psychologically.

Tan Jing’s grandparents returned to China from Thailand in the 1950s. As a result as a family member, Tan Jing often feels their struggles with identity and sense of belonging.

Perhaps it is the societal constraints under patriarchy that have given rise to such pain.where any mention or encounter with pain is sensitive and fragile, and pain arises from contradictions.

Firstly,Tan Jing’s artistic language also encompasses contradictions.

Secondly, hers artistic language always fragility to express that subtle pain.

And more by combining self-expression with the characteristics of materials, she subtly distorts the historical narrative of people’s pain.

Tan Jing: Axiong Ran Away

tanking' video work:Technical support for aroma design

Tan Jing’s work “Axiong Ran Away” is an exploration of individual identity consciousness. Her grandparents were overseas Chinese from Thailand who returned to China in the 1950s. The fluidity of identity is vividly reflected in this context, and under the fluid identity.where should people turn for their sense of identity and belonging? There is no answer; we can only immerse ourselves in the feelings.

tanjing'sculpture

“Axiong” is a character created by Tan Jing based on her grandfather’s image. In 1956, Tan Jing’s grandfather left Thailand and settled in China.

In the four-channel video installation “Hot Dream Corner” completed in the summer of 2023.

Tan Jing began to visit family members and dispersed Chinese in Bangkok, Thailand, recording stories told by the elderly.

In the film, these fading memories intertwine in different languages, interspersing dialogues from the past, future, and present world, forming a unique narrative of the film. Light and shadow penetrate through four screens of different textures, opening a “window” to the corner of dreams.

Tanjing'work

In the world of art creation, artists often wander between the realms of artistic space and imaginative space, drawing inspiration from intangible thoughts to create unique works. Emotions flow and pour out like tides in this process, turning into deep emotional imprints within the artwork, touching the hearts of viewers. Materials serve as the medium through which artists express emotions, imbued with new life and meaning through the skill and creativity of the artist, becoming a bridge that connects the artist and the audience. The combination of artistic space, imaginative space, emotional flow and outflow, and materials forms an infinitely possible world in art creation, allowing people to wander in the ocean of art, experiencing endless beauty and profundity.

the work : axiong is run away

Sources

农夫和螺仙

Tan Jing 譚婧

谭婧：旱梦滩

Categories
Contemporary 人物 艺术家

Contemporary｜Zhang Yibei – Cut a hole, everything becomes vase

[:en]zhangyibei[:]

Zhang Yibei, born in Daqing in 1992, currently lives and works in Beijing.

The hometown of artist Zhang Yibei, Daqing in Heilongjiang Province, is a place in China that is rich in oil.

Daqing, Heilongjiang

Therefore, most of Zhang Yibei’s works are “heavy industry” and “mechanical” in language, and in her exhibitions.

Most of the large metal materials are transported to Beijing after being completed in Daqing.

Zhang Yibei's Heavy Industry Materials Works

However, Zhang Yibei, who grew up in the hometown of Heavy Industry, is introverted, to the extent that her personal account cannot be found on online platforms.

which can also explain why Zhang Yibei’s work language style is so unique a huge contrast with her own. This contrast actually brings tension to the artist’s work.

Zhang Qianbei’s works usually start from an abstract assumption.

Thinking about the relationship between the author, materials, and the artist’s ideas through assumptions as connections.

In this process of reflection, Zhang Qianbei, as the creator and expressionist of ideas, combines materials to achieve a “real” world, which in turn metaphorically represents a conceptual world.

Zhang Yibei: Vases and Holes

What is reality? Concepts are always one-sided, and neither the visual nor conceptual world can be defined as reality. Reality is complex and complete.

Installation view of Yibei Zhang’s solo exhibition “A Vase in Everything” at BANK

In her works, ideas and materials together constitute the image of the artist.

We can feel that Zhang Yibei’s works have a very strong personal style.

The image of the artist and works makes people think about the sequence between the experiences and experiences of the material and the artist. Therefore, in the strong personal style, the interaction between the artist and the material is also fully reflected. Perhaps our conclusion is still that materials, artists, and ideas coexist and are destined.

The materials chosen by artists, whether originating from nature or ready-made products, serve as metaphorical elements that reflect the artist’s own consciousness and subconscious.

Installation view of Yibei Zhang

In Zhang Yibei’s works, “hole” represents both an actual hole and a space. A closed or semi closed container or pipeline represents the state of flow.

The Hole

The process of creating “holes” is also a form of reshaping, bringing new abilities and possibilities, as well as multiple metaphors and substitutes.

Just like the blank canvas pierced by Fontana, shattering means liberation. For visitors to exhibitions, fixed holes on dead objects are actually more flexible. As the audience moves, they can also notice that the holes are actually changing. The interaction between the audience and the work is purely a process of the audience’s own perception.

And personal experience, combined with the participation, transformation, and flow of the work.

The holes in Zhang Yibei’s works are not only for imagination and virtual space, but also for concrete, concrete people, and abstract ideas.

However, the “holes” mentioned in the exhibition name are not the main body of Zhang Yibei’s works, and they are not deliberately portrayed.

Installation of Yibei Zhang

However, we can see that these “holes” are sometimes real holes. For example, holes on the lid of a bread maker, indentations on the surface of a septic tank, air valves on a pressure cooker, or air outlets on an electric iron. Wait, the actual “pores” are always covered by the “pores” in the structure or space of the material.

Therefore, the holes in the exhibition are actually everywhere. Holes represent transcendence on objects, while the audience surrounded by the work is enveloped by a blank space like air.

Zhang Yibei’s Cavity

In short, for the concrete Kong, it is like a blank space in people’s lives, and this blank space is expressed in a poetic way by Zhang Yibei as blank space. For the abstract Kong, it contains infinite and rich energy, just like blank space begins with infinity, infinity begins with blank space.

Zhang Yibei mentioned several times in the interview his resistance to explaining the work. “When I was studying in the UK before, I would often discuss and explain works in small groups during class.” At that time, Zhang Yibei felt that it was a bit foolish to directly define her own works in the explanation. In her opinion, the interpretation of works has always been open. She joked to herself, “You can chat normally without talking about your own work.” Everything she wanted to say was included in her work.

Therefore, the “Kong” in Zhang Yibei’s works is not only a physical space, but also gives way to the audience in interpretation. The creator gives space to people who do not belong to the creator, which is a true form of communication.

Installation of “A Vase in Everything” by Yibei Zhang

Sources

Art Forum

Zhang Yibei: You can chat normally without discussing works

HI character Zhang Yibei

Zhang Yibei: Perceived Holes, Absent Flower Arrangers

Categories
Contemporary

Contemporary | Ye Funa – Nailhenge

Ye Funa was born in Kunming, China in 1986. She graduated with a BFA in Experimental Art from the Central Academy of Fine Arts, Beijing, China . MFA from the Central Saint Martins College of Art, London, UK.

Funa fictional space

Ye’s practice is concerned with the relationship between the realities of everyday life. She is interested in the perceived connection between authority and many areas of social life such as different power structures, ethnic groups. The fictional space of propaganda for the concept of ‘perfection’ in an ideological system, and utopian landscape. Her work is politically charged, subtly engaged in pastiche as a satirizing style of propaganda. 

As the concluding exhibition for the Curated Nail project, “Nailhenge” seemed a little on the somber side. Here were neither the creative manicure sessions of past events, nor the cosplay girls from “Peep Stream”. In addition to older works like “Nail Diamonds Treasure Chest” and “Nail Bank”, Ye Funa showed a recent series entitled Capture the Nail, made using cheap trinkets from small-merchandise wholesale markets, and Nailhenge: A Small Victory, a new short film shot in this gallery-turned-green-canopy-space.

叶甫纳，”甲天下”，展览现场 Ye Funa, “Nailhenge”，installation view

Family Album

The turn from “Family Album” to “Curated Nails” marks Ye’s transition from a research-oriented practice. Based on texts and history to a participatory one drawing from the realities of everyday life. In 2014, Ye Funa founded “Exhibitionist: Curated Nails” on Wechat’s public platform, a curatorial project that allowed fingernails to appropriate the exhibition function of galleries and museums.

By 2016, Ye Funa had collected over 150 submissions. In conjunction with successively promoting the proposals on the public account named “Exhibitionist”. Ye has also collaborated with various institutions for pop-up shows, including Ying Space, Nanjing Arts Institute，MoCA Pavillion, storefronts, among others. Essentially, the motive driving Ye’s implementation of this project comes from the individual’s need for manicure makeovers—she contemplates how to transfer conventional exhibition-making to feature nails. As the project developed, Ye’s interest in nails expanded to the realm of pathology and sociology. The word “exhibitionist” originally indicated a perverse behavior in which someone achieves sexual satisfaction by exposing their genitals. In the context of Ye Funa ’s work, it suggests more a certain compulsion for spontaneous showcasing in public space.

Naihenge sculpture YE FUNA

《巨甲阵- 珍珠贝》，综合材料，Nailhenge, mixed material, 205×105cm，2016

Arranged on transparent display shelves, the Capture the Nail series is made up of nails adorned with rhinestones, puppets, insects, organs, plants, hair, and other plastic materials. On first sight it seems to resemble a mini cult movie theater with a penchant for porn and gore. Although the work seeks to comment on how nails pertain to pathology and sociology. The dazzling array of trinkets is not lacking in feminine accessories such as bows, high heels, and diamonds. This manicure-themed exhibition makes it difficult for viewers to ignore a stereotypical female desire for bodily embellishment. But judging from the vulgar color palette, cheap materials, and crude craftsmanship, the work deliberately rebels against the exquisite refinement sought in popular manicure practices.

Ye Funa A small victory

Paired with an upbeat electronic soundtrack, the short A Small Victory recounts the process of Ye navigating “manicure” culture with a friend. The artist fabricated the ”genesis” of manicure culture, in which “manicure”. A culture intimately intertwined with the lives of women since the beginning of time—seems to have attained a legitimate place. Correspondingly, Ye made ten person-sized nails, taking both Eastern and Western female mythological characters as inspiration for the nail designs. In addition to symbols of Nüwa and the goddess of love in orthodox mythology. Ye also incorporated elements from different subcultures, especially manga culture. For example, the scepter adorned with crowns, hearts, and feathers is reminiscent of the role of Usagi Tsukino from the Japanese Manga series Sailor Moon (“manicure” is the initial step in the Sailor Soldier transformation process—it is as though it can bestow special powers).

When talking about the works of female artists, critics habitually employ .Words like “subversive”, “satire”, “parody”, and “self-amusement” in order to project “rebellious” personalities onto the artists. Although discourse on female artists is not novelty. It still remains a topic for museums, and curators to use to generate controversy.

Female Artist situation

Whenever institutions put up shows featuring female artists, they almost never fail either to emphasize their “particular” identity with phrases like “women’s living conditions and spiritual qualities are the benchmark for measuring the achievements of civilized society”, or to affirm the value of their cultural production with statements such as  “the works of female artists are becoming more and more powerful…etc.” At times, these circumstances result in female artists refraining from commenting on topics related to gender and refusing altogether that which is “female”. In contrast, “Nailhenge” does not shy away from women’s love for makeovers. The beauty inherent in manicure culture encompasses . Not only the sexy and the elegant, but also the weird and the bizarre. The attribution of beauty depends on the individual and what is attractive to them; the desire to look good is but a form of self-amusement.

Categories
Contemporary

Contemporary | Miao Ying ’s promotional showrooms

In an increasingly digital world. Where facial recognition apps allegedly store our aged portraits and smart devices eavesdrop on our most intimate conversations. A growing number of artists are presenting tech-inspired dystopias in their work. New York and Shanghai-based Miao Ying adds an even more bitter cherry on top of this potential, doom-filled future, with her commentary on drastic governmental Internet censoring, and eventual self-censorship, in her home country of China. “Self-censorship is similar to Stockholm Syndrome,” says the artist.

Miao Ying last decade

However about becoming frenemies with censorship over the last decade, since she graduated from graduate school. “I never read George Orwell’s 1984 because I live in it and it’s pretty dark already.

Miao YiMiao Ying, I haven’t closed google chrome in 3 years
Miao Ying, I haven't closed google chrome in 3 years
Miao Ying, I haven’t closed google chrome in 3 years

Gif works

It’s easy to think censoring is wrong—few would argue with that.But the artist has been practicing ways of working with it. While playfully bending the rules. Miao showed a GIF of a half-loaded image of Chairman Mao as part of her mixed media installation Chinternet . Plus in the group exhibition The New Normal: China, Art, and 2017 at Beijing’s UCCA Center for Contemporary Art. The cultural bureau, during one of their usual trips to institutions to eliminate “threat”. Deemed the work inappropriate because of the clear resemblance of the former leader’s forehead. The artist’s solution was to raise the image’s pixilation to such a degree of unclarity that she was able to exhibit the work. Which was about China’s economy slowly getting stuck in a manner similar to a buffering image.

Miao Ying, Chinternet Plus (detail), 2016. Courtesy the artist
Miao Ying, Chinternet Plus (detail), 2016. Courtesy the artist

Miao’s mixed media installations—or promotional showrooms, as she calls them—bring her web art pieces into the gallery space, but exist almost secondary to her work in the digital realm. For Miao, her work strictly “resides online” and physical installations . She has started showing at museums result from an outside demand to prompt the audience to go to the Internet. “The work always starts with a digital core, which relates to a communist ideology. Starting with an abstract vision and adding up to build an idea.” 

Miao Ying, data
Miao Ying, data

Miao Ying Grey Area

“There has always been a grey area to play with; however, that area is constantly getting narrower,” explains the artist. Who believes the current digital-political landscape has reached new realms of horror. With an in-progress credit system to collect personal data, similar to the purchase-based credit system of online shopping platform Taobao. Which grants visa-free access to Canada or Singapore for those holding the desired score. A pilot programme is currently being tested on smaller cities. The new deductive system gives each citizen 1,000 points, which drop based on their online and real-life presence. Monitored through governing web companies and people observing and noting others’ public behaviours. “The plan is to have each Chinese citizen scored by 2020.” says Miao, adding that a low score will limit travel and access to certain benefits.

Miao Ying, Happily Contained (detail), 2018. Courtesy the artist
Miao Ying, Happily Contained (detail), 2018. Courtesy the artist

Categories
LAVORATO 当代

Contemporary | Artist Pan Xi: Eternal Femininity

Pan xi is a Chinese artist born in Wenzhou, China, in November 1971. Since childhood, has developed a strong artistic and aesthetic sense because, every week, with her sister, she went to the art institute directed by her father to visit the workshops of the artists at work.

She is so passionate about drawing and painting, she starts taking lessons at the age of ten, from an artist friend of her father.
She began her fine arts studies, after finishing high school, in 1989 at the National Academy of Fine arts in Hangzhou, China, and a year later she received a scholarship and moved to the Academy of Fine Arts in Moscow where he earned a Master in Fine Art.
Lunch break 
She is so passionate about drawing and painting, she starts taking lessons at the age of ten, from an artist friend of her father.
She began her fine arts studies, after finishing high school, in 1989 at the National Academy of Fine arts in Hangzhou, China, and a year later she received a scholarship and moved to the Academy of Fine Arts in Moscow where he earned a Master in Fine Art.
Pan Xi 2 
In 1999 he obtained a master's degree in oil painting and with the work "Seven Beauties" he won the gold medal of the University.
 Since then he has lived in Europe, between Germany, Austria, Holland and France, and in the United States working as a professional artist.
 He currently lives in Hangzhou, China, where he opens his personal studios on the Jade Mountain Emperor's Hill on the outskirts.
In 1999 he obtained a master's degree in oil painting and with the work "Seven Beauties" he won the gold medal of the University.
Seven Beauty
Mother and son

From her works shines through the modernity and power of the early twentieth century artists such as Klimt, especially for the use of colors, Modigliani, as regards the idea of dreams and reality that floats in an unreal time, and Schiele in reference to the yield of the bodies and the positions they assume.

Paris in the spring

Although her works are very twentieth-century they maintain a very powerful bond with the ancient Chinese art that makes the works are fascinating, overwhelming but at the same time extremely delicate and poetic.

Siesta

In her works the female subject is undoubtedly predominant. The women of are rendered in all their femininity and sensuality, dormant and dreamy but at the same time so determined and sure to be able to show their body with total ease, seducing the viewer and taking him to another dimension where everything is always immobile and eternal.

spring

Exhibitions:
2003  Veronica, Gallery “de Arte”, Nantes, France
2005  Girl in a Black dress, Gallery “de Arte”, Nantes, France
2008 Body temperature present, Gallery Zhongdao, Suzhou, China
2009  Mother and Child, Gallery “de Arte”, Nantes, France
2010 Carmine, Art scene Warehouse
2011 In my secret garden, M Art Center, Shanghai, China

References:

http://ilmondodimaryantony.blogspot.com/2016/06/xi-pan.htmlhttp://www.xipan.com/Gallery.htmhttps://www.tuttartpitturasculturapoesiamusica.com/2012/03/xi-pan-chinese-professional-fine-art.htmlhttp://www.artistsandart.org/2010/04/xi-pan.htmlhttps://www.chinesenewart.com/chinese-painters3/xipan.htm