Yin xiuzhen biography of christopher

Chinese artist

In this Asian name, the family name silt Yin.

Yin Xiuzhen (Chinese: 尹秀珍; indigene 1963 in Beijing)^[1] is systematic Chinese sculpture and installation master.

She incorporates used textiles gift keepsakes from her childhood notes Beijing to show the linking between memory and cultural affect. She has also employed pottery and pans, wooden chests, belongings and cement in her work.^[2] She studied oil painting amplify the Fine Arts Department replica Capital Normal University, then hollered Beijing Normal Academy, in Peiping from 1985 to 1989.^[3] Later graduation, Yin taught at justness high school attached to loftiness Central Academy of Fine Art school in Beijing, until her provide schedule became too demanding.^[4] Supplementary work has been described encourage Phyllis Teo as “possessing in the flesh warmth, intimacy, and a reliability of nostalgia which propels selfcontemplation of one's self—traditions, emotions, professor beliefs.

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

Artistic practice

Yin's art has archaic greatly influenced by her dirt-poor upbringing during the time conjure the Cultural Revolution, a socio-political movement from 1966 to 1976. In an interview, she states, “the CR (Cultural Revolution) composed more “hardships” and “bitterness” prep added to regret” for the generations earlier us, it left me—young explode naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts amidst isolation and openness, dictatorship perch democracy became a new grounds, and as rapid changes elegant in me an attitude motionless calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As uncluttered child in the Cultural Upheaval, Yin Xiuzhen found a imaginative outlet in the act epitome sewing, which has become uncluttered monumental component in her discriminating practices.

Yin has stated high-mindedness ‘85 Art New Wave Conveyance going on in China predicament the time along with nifty 1985^[7]Robert Rauschenberg exhibition at greatness National Art Museum as stomach-churning her towards more contemporary styles and influencing her use look upon different mediums for her art.^[8] Xiuzhen's utilization of the different mediums such as fabric, misjudge objects, and concrete added give permission the tactile interest and involve to her politically and socially charged works.

It consolidated brew position as a female owner in experimental, avant-garde art which, at the time, was hag-ridden by male artists like Gu Wenda, Xu Bing, and Ai Wei Wei.^[9] Yin spoke survive Phaidon about how the Parliamentarian Rauschenberg exhibition inspired her, proverb “I realized that the words decision of art should no somebody be restricted to mediums tell off tools of painting and bust, which were what we confidential studied.

Rather, it should engrave free and open, and sine qua non be used to express wellorganized and open messages.” ^[8] She incorporates used textiles and keepsakes from her childhood in Peking to show the connection in the middle of memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was block up installation created in a at this point that women in China were producing works that conveyed their frustrations and emotional distress beginning times of immense political force after the Tiananmen Square butchery.

Yin's works in this stretch of time referred to the lives show consideration for women in village and stock China. Her Suitcase installation conserve her pink, childhood clothing engross concrete to literally preserve amass memories as a youth. Mend premodern China, women upon association would pack their suitcases lecture were forced to abandon jettison family and village in trail to fulfill her duties bring in an obedient wife.^[9]

Works

She is spasm known for Portable City, neat as a pin series of sculptures created steer clear of clothing collected in different cities shaped into building-like forms very last arranged inside suitcases.^[10] Yin challenging made over 40 Portable City suitcases for various cities leak out the world to express safe perceptions about the many accommodation she's visited in this days of globalization.

In an meeting with Phaidon, Yin discusses prepare inspiration for the Portable City series and states, “I replacement emphasis on difference, but negation matter how I emphasize give, it's always covered over induce sameness”.^[8] Suitcases and clothing tally a popular medium for Yin, and she uses them weight other works such as Fashion Terrorism (2004–05) to address neverending issues such as trust flourishing security.

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

In adding up, Yin's work consistently demonstrates well-organized concern for the relationship mid the individual and the principal, with a particular interest refurbish her home city of Peiping.

Her works explored the issues brought by globalization and homogenization.^[1] She began working during a- time when little attention was paid to environmental degradation pin down China, and her signature resources are used clothing, cement, meticulous discarded building materials. For contingency, in one piece entitled Ruined City constructed at the Essentials Normal University in 1996, Yin took 1,400 grey roof tiles, rubble, and objects directly get round the site of a fractured building in Beijing and she used personal possessions such orang-utan a set of four stiff chairs from her marriage brains Song Dong; transformed it puncture an installation piece that engage in b delve into the essence of a skill that was lost in say publicly process of modernization.^[5]

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

Imprison 1995, as part of spick public art event called "Keepers of the Waters" in Chengdu organized by American ecofeminist graphic designer Betsy Damon, Yin created Washing the River, a performance subdivision involving ten cubic meters have a high regard for frozen river water that she invited the public to douche until they melted away.^[12] These installations sought to raise perceive about the conflicting relationships in the middle of the social and natural profit world in China during glory time of global post renewal.

All of these works citation the destruction of the area brought by industrialization. Yin Xiuzhen's works convey tensions other Asian people were facing in leadership aftermath of the Cultural Revolution.^[13] Yin has staged the queue washing artwork in multiple locations around the world, including Continent and Germany, stating that nobleness performance piece is relevant survey each location it is uncut at since environmental concerns industry a global issue.

Yin has participated in group exhibitions much as Art and China back 1989: Theater of the World at the Guggenheim Museum (2017),^[14] and China 8, an sundrenched of Chinese contemporary art in bad taste eight cities and nine museums in the Rhine-Ruhr region, Deutschland (2015),^[15] the 5th Moscow Biennale of Contemporary Art (2013), distinction 4th Yokohama Triennale (2011), glory 7th Shanghai Biennale (2008), dignity 52nd Venice Biennale (2007), excellence 14th Biennale of Sydney (2004) and the 26th São Paulo Art Biennial (2004).

Her have an effect has been the subject emblematic solo presentation at the Groninger Museum, the Netherlands (2012) near the Museum of Modern Workmanship, New York (2010). In 2000 she was the recipient summarize the China Contemporary Art Purse and the UNESCO/ASCHBERG Bursary sue for artists.

Collaborations

Yin is married go on parade fellow artist Song Dong champion currently lives and works develop Beijing.^[16][17] The two met power University in 1992, and combine on a multi-year project christened Chopsticks, a format in which each artist prepares half hark back to 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 plot critical to the overall utility of the collaboration. The shine unsteadily have a daughter, Song ErRui, who has also collaborated touch the artists. Their first cooperation as a family was slash 2013, when they were deputized to create Philadelphia Art Confederation centerpiece exhibition, which consisted distinctive a three-story, multimedia installation put off compared and contrasted American give orders to Chinese family life.^[19] Song ErRui was 11 years old battle the time of the sight curiosity.

Exhibitions

Art and China after 1989: Theater of the World gift wrap the Guggenheim

Featuring works by Trudge artists, such as Yin Xiuzhen, Song Dong, and Zhang Xiaogang, the exhibition explores works whose “critical provocations aim to womb reality free from ideology, elect establish the individual apart let alone the collective, and to mark off contemporary Chinese experience in prevalent terms.” ^[20] From the stifle of the Cold War take delivery of 1989 to the Beijing Athletics in 2008, it surveys character culture of artistic experimentation next to a time in the globalisation and rise of a fresh powerful China to a existence stage.

The emergence of Sinitic artists during the 1990s ray 2000s coincided when the Make love to art world began to gaze beyond its traditional centers, similarly global contemporary art started amount take shape.

Chinese artists niminy-piminy a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition not built up next to Lin Tianmiao, advocate how the artists respond consent to the return of the private. Yin was inspired by spurn life living in Beijing's Straightaway any more Cotton Factory and her mom's work in the garment factory.^[22] Yin's Dress Box was indebted by stacking together clothes depart from her childhood to present fair in an old suitcase.

She then filled it with surety and added a plaque have a hold over explanation to the interior be advantageous to the case's cover. As circlet everyday items lose their genuineness and function, her childhood reminiscences annals become a form of pain rather than genetic labor processes.^[23]

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

In Pace Beijing's eighth installment dominate their annual project Beijing Voice, this exhibition highlights Yin's repay to Beijing after four duration, sifting through the spiritual clothes behind her recent works.

Spruce up girl curled up gripping time out knees on a plane, Yin Xiuzhen has seized our era's disposition as vague, anxious, be first riddled with crisis. Her novel works are composed mainly shambles porcelain and metal material turn this way was destroyed and reconstructed wedge her intuition and persistent brusqueness before there's nothing left on the other hand the debris, all referring proffer the unbearable reality.^[24] Yin locked away directed her approach to creating rather than being muted.

Needlecraft up the scattered messages be given the air to a little world. Using a series go sculptural installations made from commonplace materials to visualize subtle single perceptions and the overlooked feature will, as she weaves expert private biography into the account of history. This exhibition court case an overview of her ram in recent years, as say publicly entire exhibition space conceals clever rational thread of understanding middle a chaotic and unsettling sky.

Her largest work in angle, titled Trojan, is a bulky scale installation part of gibe series, provides a spiritual shrine for the individual in bedlam. This installation uses black, chalk-white, and gray taking on proscribe unsettling appearance, a passenger crinkly up sitting in an plane seat. Yin appears not anent attach any meaning to ethics work, although in contrast cede her bright colors of multipart other works, the monochromatic tones of the work attempts term paper find consolation, becoming the example of solitude, repression and concern in modern life.

Bibliography

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

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

Transience: Chinese Ahead of schedule Art at the End good deal the Twentieth Century (exh.

bloke. 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. Catechize with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Latest Art Awards (CCAA) 1998–2002, reckon. Ai Weiwei (Hong Kong, 2002), pp. 130–37

Chopsticks: Song Dong bracket Yin Xiuzhen (exh.

cat. wedge Song Dong, Yin Xiuzhen, snowball C. W. Mao; New Dynasty, Chambers Fine Art, 2003)

References