Tag: International artist

Contemporary | Hu Yun – Everything is the same

Post author By SHUNING XIANG
Post date 17 June 2024
No Comments on Contemporary | Hu Yun – Everything is the same

Hu Yun is born in Shanghai in 1986, graduated from China Academy of Fine Arts in 2008. I currently live and work in Melbourne and Shanghai.

Hu Yun’s works include painting, watercolor painting, performance, video recording, and installation.

Hu Yun is good at mobilising the experiences of different characters and stories, and reintegrating various materials from the past into his daily work. Therefore, artists and audiences cannot view every work of artists in isolation. Each project has a predetermined and interrelated common theme.

Hu Yun himself mainly engages in architectural structures. Most of his works are closely related to nature, with some focusing on elements such as plants and insects.Hu Yun, with a nostalgic heart and a warning attitude towards the audience, pays attention to nature. He incorporates simple concepts and elements into his works, transforming them into simple forms and creating rich experiences. He likes to attract public attention in interesting or engaging ways and immerse himself in his works.

Hu Yun’s works often give people a simple and rustic beauty, and after a long search.

They give people a true sense of happiness and security.

It tends to improve society with a sense of calmness and peace, rather than using the powerful creative methods of some artists.

“Treasure Chest” (sketch), installation, 100x80x80cm, wooden board, screen printing, color, 2012

Everything is the same

In Hu Yun’s 2008 work “Everything is the same”, the pillar in the center of the room looks no different from him.

Quietly moving back and forth in front of us at an extremely slow speed that cannot be distinguished by the naked eye.

Every millimeter of the movement of the huge cylinder became a mystery,it slowly unfolded like a poem.

Therefore, Hu Yun’s new series focuses more on natural history research to gain new artistic reflections. The exhibition “Mysterious Garden No.1: Riverside” revolves around a unique Chinese animal.

This type of mountain chicken,is described in detail in Li Zhen’s book “The Material Media Gang” (1586).

In the 19th century, like other unique flora and fauna, it was discovered by a tea master named John.

This river (1774-1856) was the first to be introduced to the West. During his annual business trip to Guangzhou, Rivers commissioned local painters to create various animal and plant illustrations, collect animal and plant specimens and seeds. Hu Yun’s works are based on various narrative clues, attempting to reconstruct historical information, legends, and personal experiences.

When curious British people hunted this rare bird near Shanghai, they found it “always too fast to see clearly…” It was this short scene that aroused the curiosity of Westerners and created a legend, a story.

As the artist said, “History is always hidden in the intangible, and we observe, search, and speculate through different memories, experiences, and understandings.”

Mysterious Garden No.1: Riverside

Hu Yun’s Exhibition

Hu Yun has participated in many biennials around the world. For example, the 6th Singapore Biennale (2019), the 4th and 11th Guangzhou Biennale and the 7th Shenzhen Sculpture Biennale.

His work has also been exhibited in leading contemporary museums around the world. These include: the Museum of Contemporary Art, Shanghai; Centre Georges Pompidou, Paris; Guangdong Times Museum of Art, ecc.

His solo exhibitions include:

“Micro Landscape” held at the National University Museum of Singapore in 2019;

“We have never left”, Xi’an Organizing Committee, Xi’an, 2017;

“Narrative Disease”, Aike, Shanghai, China, 2016;

“Handle with Care”, Aike, Shanghai, China, 2013;

“Our Ancestors”, Goethe Open Space, Shanghai, China, 2012;

“Water in Nature”, Museum of Natural History, London, UK, 2010.

Sources

HU YUN – AIKE

HU YUN:MOUNT ANALOGUE

Introduce of HU YUN

Evolution: Confusion in the Yuan Dynasty – The Grand Opening of Space

Contemporary 当代艺术家

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

Post author By SHUNING XIANG
Post date 17 June 2024
No Comments on Contemporary｜Qian Ningyue – Cooking always accompanies me, giving me a soothing feeling

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

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.

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>

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Contemporary 当代艺术家

Contemporary｜Gai Qizheng – misunderstood and created culture

Post author By SHUNING XIANG
Post date 17 June 2024
No Comments on Contemporary｜Gai Qizheng – misunderstood and created culture

Gai Qizheng, born in Qingdao,in 2001, graduated from the School of Urban Design at the Central Academy of Fine Arts.

However as a young artist, is committed to engaging with the digital world.

His works often focus on artistic creation within the context of the internet.

Above all he is dedicated to navigating between different fields, with his work language typically involving interactive installations, graphic design.

Gai Qizheng aims to view certain global historical phenomena from a perspective that transcends national boundaries. His works primarily explore the phenomenon of future cultural integration. He considers in-depth research and practice as his primary working methods.

Chess

In his works, Gai Qizheng uses chess pieces as an artistic language.

while his exploration of the material itself focuses on researching and discussing the phenomenon of “cultural misreadings.”

Chess itself originated in India and was known as “chaturanga” at the time. It evolved locally in Thailand into Thai chess.

And to the east it developed into Thai chess, Khmer chess, Burmese chess, Malay chess, Japanese shogi, Chinese chess, and Korean chess, and to the west it evolved into Persian chess.

which later spread to the Arab world and then into Europe.

Due to different cultural backgrounds, individuals tend to interpret and understand the other party’s objects subconsciously based on their own culture and experiences, thus giving rise to different chess cultures. Different chess cultures are essentially different misreadings that can occur with objects like chess.

The imagination of others

In Gai Qizheng’s work, he has collected over 3,000 chess pieces from different civilizations, periods, and materials. By building a database and utilizing machine learning, followed by the artist’s own creative input, he has created over 20,000 chess pieces that integrate 26 different cultures.

Each type, shape, and symbol of the chess pieces serves as a cultural model reflecting the characteristics of the respective cultures.

In his work, Gai Qizheng sculpts 36 chess pieces and presents videos, as well as over 300 publications showcasing the generated chess pieces.

chess ,gaiqizheng,The imagination of others

The boundaries between cultures are always ambiguous, leading to such a rich cycle of interactions. Gai Qizheng hopes to address the phenomenon of cross-cultural misreadings by adopting a global perspective and understanding.

Images and language, as the most important cultural symbols and mediums, mutually influence the fusion of cultures. They will play a crucial role in cultural integration and development in the future. Therefore, for artists, chess pieces serve as excellent language models, especially in the current era where information dissemination is accelerated through internet media. Fusion is an inevitable trend.

A global perspective provides us with a broader angle for contemplation, enabling us to better understand the mutual influence and exchange between different cultures.

Images and language, as cultural symbols and mediums, play significant roles in cultural fusion and development. Through artistic creation, artists can express cross-cultural understanding and communication. Chess pieces, as a language model, help people better comprehend and interpret this cross-cultural information exchange.

gaiqizheng' work:The imagination of others

With the development of the internet and other media, the speed of information dissemination is increasing, accelerating the fusion between different cultures.

Cultural fusion is an unavoidable trend, and through art and other forms of creation, we can promote better communication and understanding between different cultures, encouraging diversity and richness in culture.

Gai qizheng'sculpture: The imagination of others

Sources

The exhibition and event “Underground and Contemporary Shelter” are currently taking place

GAI QIZHENG

PSA Shanghai Biennale x Qingce | Pichin Spectra: A Cultural Non linear Compilation Possibility

Contemporary 艺术家

Contemporary｜Tan Jing – Ah Xiong has run away

Post author By SHUNING XIANG
Post date 17 June 2024
No Comments on Contemporary｜Tan Jing – Ah Xiong has run away

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.

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.

“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.

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.

Sources

农夫和螺仙

Tan Jing 譚婧

谭婧：旱梦滩

Contemporary 人物艺术家

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

Post author By SHUNING XIANG
Post date 17 June 2024
No Comments on Contemporary｜Zhang Yibei – Cut a hole, everything becomes vase

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.

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.

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.

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

Tags article installation, asian art, Chinese art, Chinese artist, Contemporary art, Contemporary artist, Female artist, hole, installation art, installation, International artist, new media artist, painting, vase, You can chat normally without discussing works, young artist chinese, young artist, Zhang Yibei

Contemporary 当代

Contemporary | Yuan Yuan – Architectural paintings

Post author By admin
Post date 12 July 2020

Chinese artist Yuan Yuan is known on the international art scene thanks to his distinctive paintings, focused on architectural subjects and executed with impeccable technique. They convey a unique atmosphere, that is materialized in the poetic of memory.

Yuan Yuan, Confessionary II, 2013, oil on linen — Confessionary II, 2013, oil on linen

Zheijang hometown

Yuan Yuan born in 1973 in Zhejiang province and studied in the Oil Painting Department of the China Academy of Art in Hangzhou. Where he gained a graduation in Fine Arts in 1996 and a Master in Fine Arts in 2008. When YuanYuan was studying there, while Chinese society was still very conservative. The Academy was “like a sunroof, always open for us” . And he benefited from a library well stocked with foreign periodicals. Currently lives and works in Hangzhou and Berlin.

His work is heavily influenced by traditional Chinese painting, which she studied when he was a secondary school student. Also, the painter was inspirited by Western artist such as Richard Long (Land Art) and Felix Gonzalez-Torres (Conceptual Art).

Yuan Yuan, Breakfast, 2013, oil on canvas. — Breakfast, 2013, oil on canvas.

YuanYuan subjects are mainly interiors and these are based on real places, with some imaginary elements added. Sometimes he also manipulates architectural details and as a result the scenes . He depicts seem to lie somewhere between reality and illusion.

All Yuan Yuan’s paintings share a sense of abandonment, offering just a glimpse of their former glory.

The artist said

“Ruins give us a sense of security, they are living spaces without .A sense of pressure so you can do whatever you want. Abandoned places are also public, meaning that you may enter and visit. This is similar to the process of a viewer who is looking at an artwork. I am trying my best to identify the residual traces left behind – not so much what the place has now.But rather what this place used to be for a long time, which no one can take away and cannot be seen. “

Yuan Yuan, A Home for Home, 2012, oil on canvas — YuanYuan, A Home for Home, 2012, oil on canvas

Yuan Yuan, Fairy Dream Liner 3, 2008, oil on canvas — YuanYuan, Fairy Dream Liner 3, 2008, oil on canvas

Paintings composition are highly structured and orderly, dictated by the geometric details of the architecture depicted. what sets Yuan Yuan’s paintings is the incredible detail with which he describes every individual surface within the composition. In particular, She is fascinated by mosaics and patterns of tiles, whether on floors, walls, or lining pools and showers.

He is able to play with an infinite variety of hues within the same color scheme to produce a stunning effect. The atmosphere often feels humid in his paintings, with water in pools or dripping from .the ceiling or decaying walls, and the mood is melancholy. In order to achieve the effect of wet surfaces, he applies several layers of diluted pigment. A classical Chinese painting technique.

Yuan Yuan, Meteoric Water, 2011, acrylic on canvas

Yuan Yuan, Swimming Pool II, 2010, oil on canvas

At first glance, Yuan Yuan’s paintings seem devoid of any human presence. This is not quite true. She wants to represent people by depicting traces of human activity, which heighten our curiosity.

Thus, She also conveys a sense of passing time, of transition and history.

Yuan Yuan, Mirror, 2011, oil on canvas — Mirror, 2011, oil on canvas

For more Chinese art: Abgstage01.

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Everything is the same

Mysterious Garden No.1: Riverside

Hu Yun’s Exhibition

Sources

Qian Ningyue：Pillar

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

Licking one’s own life is like a maltose

Chess

The imagination of others

Sources

Tan Jing: Axiong Ran Away

Sources

Zhang Yibei: Vases and Holes

The Hole

Zhang Yibei’s Cavity

Sources

The artist said