Mourning is one of the key themes of Jiang Zhi’s artistic creation. One can mourn an existence, a moment, an event; one can also mourn an era, a feeling, an idea as well as a feeling of ‘togetherness’, of ‘eternity’, of ‘blindness’.
“Wake Up” uses the rabbit hole in “Alice’s Adventures in Wonderland” from the first dialogue between Neo and Morpheus in “The Matrix” as an introduction, so that the audience enters a surreal world, and interacts with it. It tries to explore the interactive design direction of VR animation, while allowing the audience to think of...
People wear clothes – they continue to create a close-fitting individual environment; clothes are both as an appearance to wrap our flesh and as an outfit to carry our life. What things have a bigger impact on people, the news about social contact, advertising, brands and pop music, or the museums?
His persistently black-and-white monochromes preserve the eternal horizon; the still theatre images retain the passing of time; the vivid animal scenes narrate the paradox of death; and the civilisation created by humans becomes a fleeting glance into...
During the exhibition, Yu Yang, the curator, was interviewed by CAFA ART INFO, to share the curatorial origin, expectation and purpose, curatorial method and the understanding and cognition of Zong Qixiang’s art...
For Zhao, social development is a hybrid process, which he has described as “a fantastic party” that conflates the joys and sorrows of life. This exhibition highlights a practice that, rooted in a long tradition of social realism, has shown a unique ability to confound the distinction between truth and fiction.
In her new exhibition, Kong Lingnan assumes her previous perspective once again, attempting to delineate from afar the individual and the collective, using painting and installation as media for advancing the self. It will be on view at Gallery Yang through September 24.
CAFA ART INFO interviewed Su Yongjian, to talk about his feelings of winning the prize and the graduation work “A Worm Cabin”, etc.
The exhibition, through the artist’s six large sound installation, shows the reflections of two issues, ‘how humans co-exist with the artificial nature’ and ‘building an ecology, imaging the world after human’, which constitute the two sides of the non-zero-sum game between human and non-human beings.
Zhu Zhengeng was born in Xuzhou in 1939 and died in 2012. He graduated from the graduate class of the Department of Chinese Painting, the Central Academy of Fine Arts. He had learned from Jiang Zhaohe, Ye Qianyu, Wu Zuoren, Li Keran, Li Kuchan, Liu Lingcang, Lu Chen, Yao Youduo, and so on.
The exhibition includes installations, experimental music, audio-visual arts, and interactive works, including a series of works of image, sound and light, and installation, fully utilizing the space to establish interaction with the viewers.
The exhibition delves into the foundations of One Hundred Layers of Ink in Yang's calligraphy and early abstractions, and traces its multifaceted evolution through the late 1980's and 1990's.