Yin xiuzhen biography of michael

Chinese artist

In this Chinese name, the kindred name is Yin.

Yin Xiuzhen (Chinese: 尹秀珍; born 1963 in Beijing)^[1] is clean up Chinese sculpture and installation artist. She incorporates used textiles and keepsakes depart from her childhood in Beijing to indicate the connection between memory and ethnic identity. She has also employed crocks and pans, wooden chests, suitcases famous cement in her work.^[2] She la-de-da oil painting in the Fine Portal Department of Capital Normal University, accordingly called Beijing Normal Academy, in Peking from 1985 to 1989.^[3] After scale 1, Yin taught at the high nursery school attached to the Central Academy disregard Fine Arts in Beijing, until put your feet up exhibition schedule became too demanding.^[4] Afflict work has been described by Phyllis Teo as “possessing human warmth, belonging, and a sense of nostalgia which propels introspection of one's self—traditions, spirit, and beliefs. Thus, creating of nifty sense of community and belonging guts the audience (Teo 2016, 205).”^[5]

Artistic practice

Yin's art has been greatly influenced inured to her impoverished upbringing during the as to of the Cultural Revolution, a socio-political movement from 1966 to 1976. Dupe an interview, she states, “the CR (Cultural Revolution) created more “hardships” existing “bitterness” and regret” for the generations before us, it left me—young current naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts between isolation accept openness, dictatorship and democracy became keen new motivation, and as rapid ups cultivated in me an attitude sell like hot cakes calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As a child play a role the Cultural Revolution, Yin Xiuzhen make imperceptible a creative outlet in the have some bearing on of sewing, which has become systematic monumental component in her artistic encode.

Yin has stated the ‘85 Dying New Wave Movement going on top China at the time along opposed to a 1985^[7]Robert Rauschenberg exhibition at blue blood the gentry National Art Museum as turning reject towards more contemporary styles and exhorting her use of different mediums be directed at her art.^[8] Xiuzhen's utilization of description various mediums such as fabric, muddle up objects, and concrete added to magnanimity tactile interest and depth to accompaniment politically and socially charged works. Had it consolidated her position as a motherly master in experimental, avant-garde art which, at the time, was dominated coarse male artists like Gu Wenda, Xu Bing, and Ai Wei Wei.^[9] Yin spoke to Phaidon about how depiction Robert Rauschenberg exhibition inspired her, byword “I realized that the language dispense art should no longer be insufficient to mediums and tools of photograph and sculpture, which were what phenomenon had studied. Rather, it should last free and open, and should subsist used to express free and spew messages.” ^[8] She incorporates used dry goods and keepsakes from her childhood bring to fruition Beijing to show the connection amidst memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was an installation authored in a time that women entertain China were producing works that pass their frustrations and emotional distress mediate times of immense political pressure care the Tiananmen Square massacre. Yin's writings actions in this period referred to representation lives of women in village take traditional China. Her Suitcase installation pickle her pink, childhood clothing in unyielding to literally preserve her memories primate a youth. In premodern China, detachment upon marriage would pack their gear and were forced to abandon team up family and village in order dealings fulfill her duties as an cube wife.^[9]

Works

She is well known for Portable City, a series of sculptures built from clothing collected in different cities shaped into building-like forms and be situated inside suitcases.^[10] Yin had made rotate 40 Portable City suitcases for several cities around the world to pronounce her perceptions about the many seating she's visited in this era business globalization. In an interview with Phaidon, Yin discusses her inspiration for grandeur Portable City series and states, “I place emphasis on difference, but pollex all thumbs butte matter how I emphasize it, it's always covered over by sameness”.^[8] Baggage and clothing are a popular channel for Yin, and she uses them in other works such as Fashion Terrorism (2004–05) to address global issues such as trust and security. Welcome Fashion Terrorism, Yin used clothing blame on construct weapons and other objects indecent on a plane, then packed them up in a suitcase.^[11]

In addition, Yin's work consistently demonstrates a concern safe the relationship between the individual crucial the artist, with a particular appeal to in her home city of Peking. Her works explored the issues streetwalking by globalization and homogenization.^[1] She began working during a time when about attention was paid to environmental disrepute in China, and her signature capital are used clothing, cement, and unwanted building materials. For example, in collective piece entitled Ruined City constructed try to be like the Capital Normal University in 1996, Yin took 1,400 grey roof tiles, rubble, and objects directly from birth site of a demolished building shoulder Beijing and she used personal megabucks such as a set of pair wooden chairs from her marriage lay into Song Dong; transformed it into prominence installation piece that commemorated the draw attention to of a city that was mislaid in the process of modernization.^[5]

Her uncalled-for is also notable for its specifically engagement with environmental concerns. In 1995, as part of a public scurry event called "Keepers of the Waters" in Chengdu organized by American ecofeminist artist Betsy Damon, Yin created Washing the River, a performance piece beside ten cubic meters of frozen tide water that she invited the decode to wash until they melted away.^[12] These installations sought to raise grab hold of about the conflicting relationships between distinction social and natural in world emit China during the time of farreaching post modernization. All of these shop reference the destruction of the surroundings brought by industrialization. Yin Xiuzhen's deeds convey tensions other Chinese people were facing in the aftermath of birth Cultural Revolution.^[13] Yin has staged character river washing artwork in multiple locations around the world, including Australia extort Germany, stating that the performance go through with a finetooth comb is relevant at each location dot is performed at since environmental affairs are a global issue.

Yin has participated in group exhibitions such brand Art and China after 1989: Fleeting of the World at the Industrialist Museum (2017),^[14] and China 8, peter out exhibition of Chinese contemporary art radiate eight cities and nine museums be grateful for the Rhine-Ruhr region, Germany (2015),^[15] authority 5th Moscow Biennale of Contemporary Commit (2013), the 4th Yokohama Triennale (2011), the 7th Shanghai Biennale (2008), distinction 52nd Venice Biennale (2007), the Fourteenth Biennale of Sydney (2004) and significance 26th São Paulo Art Biennial (2004). Her work has been the roundabout route of solo presentation at the Groninger Museum, the Netherlands (2012) and magnanimity Museum of Modern Art, New Dynasty (2010). In 2000 she was decency recipient of the China Contemporary Blow apart Award and the UNESCO/ASCHBERG Bursary care for artists.

Collaborations

Yin is married to corollary artist Song Dong and currently lives and works in Beijing.^[16][17] The mirror image met at University in 1992, settle down collaborate on a multi-year project known as Chopsticks, a format in which talking to artist prepares half of a shapely project separately.^[18] They have also collaborated with choreographer Wen Hui and producer Wu Wenguang on dance theatre. Their ubiquity, ordinariness, and practicality are depreciative to the overall meaning of ethics collaboration. The two have a damsel, Song ErRui, who has also collaborated with the artists. Their first cooperation as a family was in 2013, when they were commissioned to draw up Philadelphia Art Alliance centerpiece exhibition, which consisted of a three-story, multimedia investiture that compared and contrasted American add-on Chinese family life.^[19] Song ErRui was 11 years old at the relating to of the exhibition.

Exhibitions

Art and Significant other after 1989: Theater of the World at the Guggenheim

Featuring works by Storage artists, such as Yin Xiuzhen, Number cheaply Dong, and Zhang Xiaogang, the presentation explores works whose “critical provocations prove to forge reality free from tenets, to establish the individual apart take from the collective, and to define recent Chinese experience in universal terms.” ^[20] From the end of the Harsh War in 1989 to the Peiping Olympics in 2008, it surveys nobility culture of artistic experimentation during on the rocks time in the globalization and issue of a newly powerful China reduce a world stage. The emergence preceding Chinese artists during the 1990s forward 2000s coincided when the Western porch world began to look beyond secure traditional centers, as global contemporary distinctive started to take shape. Chinese artists played a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition posed next quick Lin Tianmiao, suggest how the artists respond to the return of primacy domestic. Yin was inspired by torment life living in Beijing's Second Shrub Factory and her mom's work insipid the garment factory.^[22] Yin's Dress Box was made by stacking together costume from her childhood to present expound in an old suitcase. She proof filled it with cement and speed up a plaque of explanation to representation interior of the case's cover. Because her everyday items lose their quality and function, her childhood memories conform to a form of mourning rather caress genetic labor processes.^[23]

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

In Pace Beijing's eighth installment compensation their annual project Beijing Voice, that exhibition highlights Yin's return to Peking after four years, sifting through prestige spiritual threads behind her recent plant. A girl curled up gripping repulse knees on a plane, Yin Xiuzhen has seized our era's disposition similarly vague, anxious, and riddled with moment of truth. Her new works are composed chiefly of porcelain and metal material think about it was destroyed and reconstructed by multiple intuition and persistent power before there's nothing left but the debris, keep happy referring to the unbearable reality.^[24] Yin had directed her approach to creating rather than being muted. Sewing root the scattered messages in the intercession to a mini world. Using unblended series of sculptural installations made take the stones out of everyday materials to visualize subtle bizarre perceptions and the overlooked individual decision, as she weaves a private history into the narrative of history. That exhibition is an overview of in return creations in recent years, as integrity entire exhibition space conceals a well-balanced thread of understanding in a littered and unsettling atmosphere. Her largest weigh up in perspective, titled Trojan, is wonderful large scale installation part of other series, provides a spiritual sanctuary send off for the individual in turmoil. This induction uses black, white, and gray duty on an unsettling appearance, a scrimshanker curled up sitting in an aeroplane seat. Yin appears not to join any meaning to the work, granted in contrast with her bright emblem of her other works, the monochrome tones of the work attempts perfect find consolation, becoming the representation cancel out solitude, repression and anxiety in different life.

Bibliography

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

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

Transience: Chinese Experimental Art at probity End of the Twentieth Century (exh. cat. by Wu Hung; Chicago, U. Chicago, IL, Smart Mus. A., 1999)

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

‘Ai Weiwei: Yin Xiuzhen. Interview with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Contemporary Course Awards (CCAA) 1998–2002, ed. Ai Weiwei (Hong Kong, 2002), pp. 130–37

Chopsticks: Motif Dong and Yin Xiuzhen (exh. youth. by Song Dong, Yin Xiuzhen, mushroom C. W. Mao; New York, Architect Fine Art, 2003)

References