Liu Wei was born on 1972 in Beijing, China. He lives and works in Beijing, China. Liu Weiâs practice is uniquely varied. Working in video, installation, drawing, sculpture, and painting, there is no stylistic tendency which ties his work together. Rather Liu perceives the artistâs function as a responsibility of unmitigated, uncensored expression, tied to neither ideology nor form. Throughout Liuâs work lies an engagement with peripheral identity in the context of wider culture; his works often describe a sentiment of excess, corruption, and aggression reflective of cultural anxiety.
Liuâs sculpture Indigestion II is a monumental poo. Spanning two meters, itâs a man-sized statement of rejection. Crafted with comic exaggeration, Liuâs turd is both repulsive and compelling; leaving no detail to the imagination, Liu offers âtoo much informationâ in the details. On closer inspection, half digested kernels emerge as hundreds of toy soldiers, spilling forth in an unmistakable sentiment of protest.
SELECTED EXHIBITIONS-
2006
⢠The 4th Seoul International Media Art Biennale, Seoul Museum of Art, Seoul, Korea
⢠CHINAJAPANKOREA, Art from Japan, China and Korea, Fondazione Sandretto Re Rebaodengo
2005
⢠51 Venice Biennale, Venice, Italy
⢠Mahjong, Bern, Switzerland
⢠First Nanjing Triennial, Nanjing, China
2004
⢠Shanghai Biennale techniques of the visible, Shanghai, China
⢠Exhibitions between Past and Future: New Photography and Video from China
⢠International Center of Photography, Asia Society, New York City, United States
⢠Regeneration Charles Cowles Gallery, New York City, United States
2003
⢠Open sky Duolun Museum of Art Shanghai, China
⢠The fifth system, public art in the age of “post-planning” Shenzhen, China
⢠Hello, comrade Mingong, Today Museum of Art Beijing, China
⢠Double time, China academy of fine arts, Hangzhou
⢠Second hand reality, Today Museum of Art Beijing, China
⢠Refine 798, 798, Beijing, China
2002
⢠The First Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China
⢠Mirage, Godot Art Museum, Suzhou Art Museum, Suzhou, China
⢠Everyday Attitude, An Exhibition of Chinese Photo-Based Arts, Pingyao, Shanxi, China
⢠Too Much Flavour, 3H Art Center, Shanghai, China; Avant-garde@Hakaren, Singapore
2001
⢠Post-Sensibility: Spree, Beijing Film Academy, Beijing, China
⢠Non-linear Narrative, Gallery of National Academy of Fine Arts, Hangzhou, China
⢠Mantic Ecstasy, Impression Gallery, Hangzhou; Bizart Art Center, Shanghai; Loft New Media Art Space, Beijing, China
⢠16th Asian International Art Exhibition, Guangdong Museum of Art, Guangzhou, China
2000
⢠âHome?â Contemporary Art Project, Yuexing Furniture Warehouse, Shanghai, China
1999
⢠Art for Sale, Shanghai Plaza, Shanghai, China
⢠Beijing in London, Institute of Contemporary Art, London
⢠Post-sensibility: Alien Bodies and Delusion, Shaoyaoju, Beijing, China
Conclusions:
Liu Wei had already established his own style and the impact of the work had won him a strong reputation in Chinese art circles.
What to Do Next…
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4 users commented in " About Liu Wei - a Chinese Artists "
Follow-up comment rss or Leave a Trackbackcan you name me some famous chinese artists old or modern?
i need to know some but dont really no anything about chinese art
i need to know artists that made an impact like in my culture van gogh or picasso did.
from very old the new will do.
any info a great help
i forgot to say anything from
japan or china will help
Hong Kong Fooey
References :
artists:
* Hsu Hsi - Southern T’ang (937-375)
* Huang Shen (1687-1768), Qing Dynasty
* Ch’en Shu (1660-1736), Qing Dynasty
* Chin T’ingpiao (18th century), Qing Dynasty
* Tung Panta (1699-1769), Qing Dynasty
* Huang Chu Tsai, Sung Dynasty
* Chao Ch’ang, Sung Dynasty
* Chao Pochu Sung Dynasty
* Wang Tingkuo, Sung Dynasty
* Kao Kokung (1248-1310), Yuan Dynasty
* Ni Tuan, Ming Dynasty
* Taochi and Wang Yuanchi, Qing Dynasty
References :
http://www.asia-art.net/chinese_artist.html
Cai Guo-Qiang (born in 1957, Quanzhou City, Fujian Province) is a Chinese contemporary artist and curator.
Cai Guo-Qiang was born in 1957 in Quanzhou City, Fujian Province, China. He was trained in stage design at the Shanghai Drama Institute from 1981 to 1985. Cai’s work is scholarly and often politically charged. Cai initially began working with gunpowder to foster spontaneity and confront the suppressive, controlled artistic tradition and social climate in China. While living in Japan from 1986 to 1995, Cai explored the properties of gunpowder in his drawings, an inquiry that eventually led to his experimentation with explosives on a massive scale and the development of his signature “explosion events,” artistically choreographed shows incorporating fireworks and other pyrotechnics.
Cai Guo-Qiang’s practice draws on a wide variety of symbols, narratives, traditions and materials such as fengshui, Chinese medicine, dragons, roller coasters, computers, vending machines, wildlife, portraiture, non-Han Chinese citizens and their cultures, fireworks and gunpowder. Much of his work draws on Maoist/Socialist concepts for content, especially his gunpowder drawings which strongly reflect Mao Zedong’s tenet “destroy nothing, create nothing.”
He was selected as a finalist for the 1996 Hugo Boss Prize and won the 48th Venice Biennale International Golden Lion Prize and 2001 CalArts/Alpert Award in the Arts. In 2008, he has a large-scale mid-career retrospective at the Guggenheim Museum in New York, scheduled to travel to the National Art Museum of China in Beijing and the Guggenheim Museum in Bilbao. He also gained widespread attention for organizing a fireworks show to mark the opening of the 2008 Summer Olympics in Beijing.
Cai is one of the most well-known and influential Chinese contemporary artists, having represented his country at the Venice Biennale in 1999 with his project Venice’s Rent Collection Courtyard, a performance during which he had artisans recreate a famous work of Socialist Realist propaganda sculpture. Cai returned to Venice in 2005 to curate the Chinese pavilion.
His work has also attracted controversy. Venice’s Rent Collection Courtyard drew condemnation within China from the original authors of the Socialist Realist sculpture for destroying their “spiritual property.” [1] Some critics have asserted that while his work references politics and philosophy, he seems to switch positions at will and that the references seem relatively opportunistic.[2]. Finally, Cai’s participation in the Beijing Olympics has drawn widespread controversy, as other Chinese artists such as Ai Weiwei, the co-designer of the Olympic Stadium, have pulled out as protest over the political conditions within China.
References :
http://www.caiguoqiang.com