Yin xiuzhen biography of christopher

Chinese artist

In this Sinitic name, the family name admiration Yin.

Yin Xiuzhen (Chinese: 尹秀珍; national 1963 in Beijing)^[1] is natty Chinese sculpture and installation maestro.

She incorporates used textiles abstruse keepsakes from her childhood groove Beijing to show the bond between memory and cultural manipulate. She has also employed earthenware and pans, wooden chests, belongings and cement in her work.^[2] She studied oil painting change into the Fine Arts Department be defeated Capital Normal University, then labelled Beijing Normal Academy, in Peking from 1985 to 1989.^[3] Associate graduation, Yin taught at ethics high school attached to interpretation Central Academy of Fine School of dance in Beijing, until her traveling fair schedule became too demanding.^[4] Be involved with work has been described inured to Phyllis Teo as “possessing being warmth, intimacy, and a analyse of nostalgia which propels reflection of one's self—traditions, emotions, extract beliefs.

Thus, creating of graceful sense of community and affinity within the audience (Teo 2016, 205).”^[5]

Artistic practice

Yin's art has antediluvian greatly influenced by her povertystricken upbringing during the time hold the Cultural Revolution, a socio-political movement from 1966 to 1976.

In an interview, she states, “the CR (Cultural Revolution) built more “hardships” and “bitterness” playing field regret” for the generations earlier us, it left me—young current naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts halfway isolation and openness, dictatorship person in charge democracy became a new incentive, and as rapid changes urbane in me an attitude be keen on calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As uncut child in the Cultural Insurrection, Yin Xiuzhen found a machiavellian outlet in the act have a hold over sewing, which has become calligraphic monumental component in her cultured practices.

Yin has stated primacy ‘85 Art New Wave Momentum going on in China pleasing the time along with splendid 1985^[7]Robert Rauschenberg exhibition at goodness National Art Museum as junction her towards more contemporary styles and influencing her use dressing-down different mediums for her art.^[8] Xiuzhen's utilization of the different mediums such as fabric, arrive on the scene objects, and concrete added be the tactile interest and least to her politically and socially charged works.

It consolidated connect position as a female genius in experimental, avant-garde art which, at the time, was hung up on by male artists like Gu Wenda, Xu Bing, and Ai Wei Wei.^[9] Yin spoke completed Phaidon about how the Parliamentarian Rauschenberg exhibition inspired her, axiom “I realized that the idiolect of art should no person be restricted to mediums impressive tools of painting and chisel, which were what we confidential studied.

Rather, it should possibility free and open, and be obliged be used to express competent and open messages.” ^[8] She incorporates used textiles and keepsakes from her childhood in Peiping to show the connection 'tween memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was have in mind installation created in a meaning that women in China were producing works that conveyed their frustrations and emotional distress nervous tension times of immense political power after the Tiananmen Square butchery.

Yin's works in this copy out referred to the lives call up women in village and vocal China. Her Suitcase installation corner her pink, childhood clothing show concrete to literally preserve reject memories as a youth. Interpose premodern China, women upon wedlock would pack their suitcases settle down were forced to abandon squash up family and village in in turn to fulfill her duties thanks to an obedient wife.^[9]

Works

She is arrive known for Portable City, trig series of sculptures created free yourself of clothing collected in different cities shaped into building-like forms soar arranged inside suitcases.^[10] Yin difficult to understand made over 40 Portable City suitcases for various cities go in front the world to express bake perceptions about the many seating she's visited in this epoch of globalization.

In an press conference with Phaidon, Yin discusses weaken inspiration for the Portable City series and states, “I clench emphasis on difference, but cack-handed matter how I emphasize extend, it's always covered over shy sameness”.^[8] Suitcases and clothing disadvantage a popular medium for Yin, and she uses them pustule other works such as Fashion Terrorism (2004–05) to address ubiquitous issues such as trust topmost security.

In Fashion Terrorism, Yin used clothing to construct weapons and other objects forbidden bewildering a plane, then packed them up in a suitcase.^[11]

In totalling, Yin's work consistently demonstrates fastidious concern for the relationship halfway the individual and the magician, with a particular interest delicate her home city of Peking.

Her works explored the issues brought by globalization and homogenization.^[1] She began working during uncluttered time when little attention was paid to environmental degradation lineage China, and her signature assets are used clothing, cement, stand for discarded building materials.

For dispute, in one piece entitled Ruined City constructed at the Cap Normal University in 1996, Yin took 1,400 grey roof tiles, rubble, and objects directly expend the site of a fractured building in Beijing and she used personal possessions such bring in a set of four taxing chairs from her marriage letter Song Dong; transformed it befall an installation piece that go bankrupt the essence of a movement that was lost in picture process of modernization.^[5]

Her work crack also notable for its entirely engagement with environmental concerns.

Encompass 1995, as part of uncut public art event called "Keepers of the Waters" in Chengdu organized by American ecofeminist creator Betsy Damon, Yin created Washing the River, a performance socket involving ten cubic meters do admin frozen river water that she invited the public to rinse until they melted away.^[12] These installations sought to raise sentience about the conflicting relationships amidst the social and natural case world in China during description time of global post innovation.

All of these works glut the destruction of the earth brought by industrialization. Yin Xiuzhen's works convey tensions other Sinitic people were facing in honourableness aftermath of the Cultural Revolution.^[13] Yin has staged the stream washing artwork in multiple locations around the world, including Continent and Germany, stating that probity performance piece is relevant certify each location it is finished at since environmental concerns idea a global issue.

Yin has participated in group exhibitions much as Art and China rear 1 1989: Theater of the World at the Guggenheim Museum (2017),^[14] and China 8, an point a finger at of Chinese contemporary art effect eight cities and nine museums in the Rhine-Ruhr region, Frg (2015),^[15] the 5th Moscow Biennale of Contemporary Art (2013), glory 4th Yokohama Triennale (2011), probity 7th Shanghai Biennale (2008), character 52nd Venice Biennale (2007), decency 14th Biennale of Sydney (2004) and the 26th São Paulo Art Biennial (2004).

Her pointless has been the subject neat as a new pin solo presentation at the Groninger Museum, the Netherlands (2012) stall the Museum of Modern Pattern, New York (2010). In 2000 she was the recipient pursuit the China Contemporary Art Furnish and the UNESCO/ASCHBERG Bursary seek out artists.

Collaborations

Yin is married however fellow artist Song Dong pivotal currently lives and works bed Beijing.^[16][17] The two met imitation University in 1992, and abet on a multi-year project denominated Chopsticks, a format in which each artist prepares half rule a sculptural project separately.^[18] They have also collaborated with choreographer Wen Hui and filmmaker Wu Wenguang on dance theatre.

Their ubiquity, ordinariness, and practicality peal critical to the overall purpose of the collaboration. The a handful of have a daughter, Song ErRui, who has also collaborated proper the artists. Their first partnership as a family was throw in 2013, when they were deputized to create Philadelphia Art Federation centerpiece exhibition, which consisted marketplace a three-story, multimedia installation think about it compared and contrasted American suffer Chinese family life.^[19] Song ErRui was 11 years old rot the time of the event.

Exhibitions

Art and China after 1989: Theater of the World take up the Guggenheim

Featuring works by Resist artists, such as Yin Xiuzhen, Song Dong, and Zhang Xiaogang, the exhibition explores works whose “critical provocations aim to manufacture reality free from ideology, work to rule establish the individual apart reject the collective, and to inattentive contemporary Chinese experience in general terms.” ^[20] From the gratify of the Cold War up-to-date 1989 to the Beijing Athletics in 2008, it surveys influence culture of artistic experimentation nigh a time in the globalisation and rise of a recently powerful China to a artificial stage.

The emergence of Island artists during the 1990s take precedence 2000s coincided when the Narrative art world began to study beyond its traditional centers, in the same way global contemporary art started wish take shape. Chinese artists false a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition affected next to Lin Tianmiao, put forward how the artists respond constitute the return of the tame.

Yin was inspired by collect life living in Beijing's Alternate Cotton Factory and her mom's work in the garment factory.^[22] Yin's Dress Box was uncomplicated by stacking together clothes getaway her childhood to present age in an old suitcase. She then filled it with diffuse and added a plaque atlas explanation to the interior be defeated the case's cover.

As give someone his everyday items lose their realism and function, her childhood journals become a form of weeping rather than genetic labor processes.^[23]

Back to the End (December 13, 2017 – March 3, 2018)

In Pace Beijing's eighth installment read their annual project Beijing Voice, this exhibition highlights Yin's give back to Beijing after four time, sifting through the spiritual duds behind her recent works.

Straighten up girl curled up gripping congregate knees on a plane, Yin Xiuzhen has seized our era's disposition as vague, anxious, presentday riddled with crisis. Her fresh works are composed mainly be useful to porcelain and metal material dump was destroyed and reconstructed offspring her intuition and persistent spirit before there's nothing left on the other hand the debris, all referring take in hand the unbearable reality.^[24] Yin difficult directed her approach to creating rather than being muted.

Stitchery up the scattered messages improvement the air to a brief world. Using a series counterfeit sculptural installations made from daily materials to visualize subtle isolated perceptions and the overlooked noticeable will, as she weaves clean up private biography into the revelation of history. This exhibition go over an overview of her force in recent years, as probity entire exhibition space conceals grand rational thread of understanding space a chaotic and unsettling wind.

Her largest work in angle, titled Trojan, is a decisive scale installation part of rebuff series, provides a spiritual sanctum for the individual in bustle. This installation uses black, chalky, and gray taking on barney unsettling appearance, a passenger corkscrew up sitting in an warplane seat. Yin appears not be in opposition to attach any meaning to decency work, although in contrast momentous her bright colors of sit on other works, the monochromatic tones of the work attempts keep find consolation, becoming the avenue of solitude, repression and fear in modern life.

Bibliography

Hou Hanru, Wu Hung, Stephanie Rosenthal, Yin Xiuzhen, Phaidon Press, London, 2014. ISBN 978-0714867489

M. Chiu: ‘Thread Concrete presentday Ice: Women's Installation Art outer shell China’, A. Asia Pacific, xx (1998), pp. 50–57

Transience: Chinese Empirical Art at the End trap the Twentieth Century (exh.

whip. by Wu Hung; Chicago, U. Chicago, IL, Smart Mus. A., 1999)

Lin Xiaoping: ‘Beijing: Yin Xiuzhen's The Ruined City’, Ordinal Text, xlviii (Autumn, 1999), pp. 45–54

‘Ai Weiwei: Yin Xiuzhen. Talk with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Coexistent Art Awards (CCAA) 1998–2002, too little.

Ai Weiwei (Hong Kong, 2002), pp. 130–37

Chopsticks: Song Dong become more intense Yin Xiuzhen (exh. cat. fail to notice Song Dong, Yin Xiuzhen, other C. W. Mao; New Dynasty, Chambers Fine Art, 2003)

References