By Yan Zhou

This ebook is the 1st case learn on Wenda Gu that systematically investigates the cultural and inventive context of his lifestyles and works, interpreting chosen photographs of his art spanning from the overdue Nineteen Seventies to the early twenty first century. it's the first monograph to supply a complete and profound learn of a chinese language modern artist. within the Nineteen Eighties, the college of Hermeneutics tried to release a discursive revolution. leading edge artists believed that the visible artwork revolution used to be an essential component of the critique of tradition since it tended to subvert and rebuild the cultural culture at a discursive point. This e-book, utilizing a case research on Wenda Gu as consultant of chinese language avant-garde, investigates the centrality of tradition in paintings, delivering readers with insights at the foundation, purpose and method of chinese language modern paintings

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The proposal had been accepted by the two curators, and featured as the central piece in the huge exhibition hall, which occupied one third of whole display area. The final piece was a 100-ft-long, 14-ft-high, and 16-ft-wide “hair tunnel” made of Swedish hair. It consisted of hair bricks, hair curtains (or screens/walls), and simply hair piles. There was a surface-to-air missile, loaned from the Royal Swedish Army, suspended in the center. A huge flag of the European Union was stretched horizontally above.

21 Qiao Xiaoguang, “Corn Field,” oil on canvas, ca. 1985, measurements and collector unknown Fig. 22 Hu Zhaoyang and Wang Baijiao, “Abandoned Dream,” soft-drink cans, 1986, measurements unknown Fig. 23 Wang Jiping, “Banners,” mixed media, 1985 Fig. 24 Zhao Jianhai, Zheng Yuke, Sheng Qi, Xi Jianjun, and Kang Mu, “Conception 21,” performance, a view at the balcony of the dining hall, Peking University, Dec. 23, 1986 Fig. 25 Lin Chun and another two members of “Xiamen Dada,” “Men Wrapped in Red Cloth, Along with Rocks, Sea and the Vault of Heaven,” performance, Xiamen, Fujian Province, 1986 Fig.

7 The drama that occurred in the Fargfabriken Center for Contemporary Art and Architecture in Stockholm in 1996 was by no means merely an artistic event. Instead, it revealed, in the form of art, an intricate relation between different parties in international, geographic politics and a complicated collective subconsciousness. The decade of 1990s was a specific period for repartition and reorganization of the world’s political powers. The former Soviet Union and its eastern European allies had transformed their socialist system of politics and economics into a procapitalist one.

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