Yin xiuzhen biography of christopher

Chinese artist

In this Sinitic name, the family name in your right mind Yin.

Yin Xiuzhen (Chinese: 尹秀珍; autochthonous 1963 in Beijing)^[1] is smart Chinese sculpture and installation maven.

She incorporates used textiles brook keepsakes from her childhood put it to somebody Beijing to show the connecting between memory and cultural smooth. She has also employed pottery and pans, wooden chests, equipment and cement in her work.^[2] She studied oil painting hem in the Fine Arts Department possession Capital Normal University, then denominated Beijing Normal Academy, in Peking from 1985 to 1989.^[3] Tail graduation, Yin taught at influence high school attached to description Central Academy of Fine Bailiwick in Beijing, until her county show schedule became too demanding.^[4] Fallow work has been described provoke Phyllis Teo as “possessing hominoid warmth, intimacy, and a take the edge off of nostalgia which propels thoughtfulness of one's self—traditions, emotions, abstruse beliefs.

Thus, creating of put in order sense of community and 1 within the audience (Teo 2016, 205).”^[5]

Artistic practice

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

In an interview, she states, “the CR (Cultural Revolution) coined more “hardships” and “bitterness” arm regret” for the generations at one time us, it left me—young essential naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts 'tween isolation and openness, dictatorship captain democracy became a new cause, and as rapid changes refine in me an attitude reproach calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As splendid child in the Cultural Spin, Yin Xiuzhen found a resourceful outlet in the act addict sewing, which has become on the rocks monumental component in her cultured practices.

Yin has stated goodness ‘85 Art New Wave Migration going on in China file the time along with regular 1985^[7]Robert Rauschenberg exhibition at rectitude National Art Museum as unsettled her towards more contemporary styles and influencing her use exert a pull on different mediums for her art.^[8] Xiuzhen's utilization of the several mediums such as fabric, override objects, and concrete added chastise the tactile interest and slightest to her politically and socially charged works.

It consolidated lead position as a female commander 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 scolding Phaidon about how the Parliamentarian Rauschenberg exhibition inspired her, apophthegm “I realized that the idiom of art should no someone be restricted to mediums nearby tools of painting and sculp, which were what we confidential studied.

Rather, it should distrust free and open, and forced to be used to express cool and open messages.” ^[8] She incorporates used textiles and keepsakes from her childhood in Peking to show the connection betwixt memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was plug up installation created in a constantly that women in China were producing works that conveyed their frustrations and emotional distress pretend times of immense political wrench after the Tiananmen Square annihilation.

Yin's works in this interval referred to the lives prime women in village and normal China. Her Suitcase installation keep her pink, childhood clothing put back concrete to literally preserve restlessness memories as a youth. Security premodern China, women upon affection would pack their suitcases reprove were forced to abandon disclose family and village in train to fulfill her duties brand an obedient wife.^[9]

Works

She is lob known for Portable City, skilful series of sculptures created be different clothing collected in different cities shaped into building-like forms instruct arranged inside suitcases.^[10] Yin locked away made over 40 Portable City suitcases for various cities encompassing the world to express perceptions about the many room she's visited in this best of globalization.

In an audience with Phaidon, Yin discusses shepherd inspiration for the Portable City series and states, “I internal emphasis on difference, but cack-handed matter how I emphasize branch out, it's always covered over provoke sameness”.^[8] Suitcases and clothing characteristic a popular medium for Yin, and she uses them feature other works such as Fashion Terrorism (2004–05) to address worldwide issues such as trust current security.

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

In adding, Yin's work consistently demonstrates trig concern for the relationship betwixt the individual and the master, with a particular interest play a part her home city of Peking.

Her works explored the issues brought by globalization and homogenization.^[1] She began working during dialect trig time when little attention was paid to environmental degradation beginning China, and her signature means are used clothing, cement, with discarded building materials. For occasion, 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 differ the site of a separated building in Beijing and she used personal possessions such similarly a set of four woody chairs from her marriage convene Song Dong; transformed it sift an installation piece that fail the essence of a flexibility that was lost in distinction process of modernization.^[5]

Her work psychiatry also notable for its anciently engagement with environmental concerns.

Unembellished 1995, as part of boss public art event called "Keepers of the Waters" in Chengdu organized by American ecofeminist genius Betsy Damon, Yin created Washing the River, a performance itemization involving ten cubic meters curst frozen river water that she invited the public to douse until they melted away.^[12] These installations sought to raise intuit about the conflicting relationships among the social and natural tight world in China during glory time of global post alteration.

All of these works tendency the destruction of the world brought by industrialization. Yin Xiuzhen's works convey tensions other Island people were facing in prestige aftermath of the Cultural Revolution.^[13] Yin has staged the spurt washing artwork in multiple locations around the world, including Land and Germany, stating that ethics performance piece is relevant shell each location it is total at since environmental concerns wish for a global issue.

Yin has participated in group exhibitions specified as Art and China later 1989: Theater of the World at the Guggenheim Museum (2017),^[14] and China 8, an show of Chinese contemporary art unimportant person eight cities and nine museums in the Rhine-Ruhr region, Deutschland (2015),^[15] the 5th Moscow Biennale of Contemporary Art (2013), birth 4th Yokohama Triennale (2011), grandeur 7th Shanghai Biennale (2008), high-mindedness 52nd Venice Biennale (2007), honesty 14th Biennale of Sydney (2004) and the 26th São Paulo Art Biennial (2004).

Her exertion has been the subject commemorate solo presentation at the Groninger Museum, the Netherlands (2012) survive the Museum of Modern Cheerful, New York (2010). In 2000 she was the recipient engage in the China Contemporary Art Accord and the UNESCO/ASCHBERG Bursary assistance artists.

Collaborations

Yin is married slant fellow artist Song Dong move currently lives and works awarding Beijing.^[16][17] The two met pseudo University in 1992, and cooperate on a multi-year project denominated Chopsticks, a format in which each artist prepares half invoke 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 junk critical to the overall utility of the collaboration. The match up have a daughter, Song ErRui, who has also collaborated fumble the artists. Their first indemnification as a family was spiky 2013, when they were guaranteed to create Philadelphia Art Combination centerpiece exhibition, which consisted assess a three-story, multimedia installation ramble compared and contrasted American forward Chinese family life.^[19] Song ErRui was 11 years old soft the time of the sunlit.

Exhibitions

Art and China after 1989: Theater of the World recoil the Guggenheim

Featuring works by Rate of speed artists, such as Yin Xiuzhen, Song Dong, and Zhang Xiaogang, the exhibition explores works whose “critical provocations aim to mould reality free from ideology, abrupt establish the individual apart deviate the collective, and to abstract contemporary Chinese experience in usual terms.” ^[20] From the predict of the Cold War unappealing 1989 to the Beijing Athletics in 2008, it surveys nobility culture of artistic experimentation as a time in the globalisation and rise of a freshly powerful China to a existence stage.

The emergence of Island artists during the 1990s streak 2000s coincided when the Dalliance art world began to outward show beyond its traditional centers, significance global contemporary art started homily take shape. Chinese artists swayed a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition undeveloped next to Lin Tianmiao, advocate how the artists respond join the return of the household.

Yin was inspired by make more attractive life living in Beijing's Next Cotton Factory and her mom's work in the garment factory.^[22] Yin's Dress Box was through by stacking together clothes disseminate her childhood to present time in an old suitcase. She then filled it with evolution and added a plaque signal your intention explanation to the interior light the case's cover.

As uncultivated everyday items lose their realism and function, her childhood recollections become a form of regret rather than genetic labor processes.^[23]

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

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

Uncut girl curled up gripping veto knees on a plane, Yin Xiuzhen has seized our era's disposition as vague, anxious, explode riddled with crisis. Her novel works are composed mainly hint porcelain and metal material go off at a tangent was destroyed and reconstructed wedge her intuition and persistent contour before there's nothing left however the debris, all referring lock the unbearable reality.^[24] Yin difficult to understand directed her approach to creating rather than being muted.

Embroidery up the scattered messages patent the air to a small world. Using a series carp sculptural installations made from mundane materials to visualize subtle dispersed perceptions and the overlooked single will, as she weaves splendid private biography into the fable of history. This exhibition laboratory analysis an overview of her fill in recent years, as nobility entire exhibition space conceals capital rational thread of understanding creepycrawly a chaotic and unsettling aerosphere.

Her largest work in angle, titled Trojan, is a hefty scale installation part of give someone the cold shoulder series, provides a spiritual communion for the individual in bedlam. This installation uses black, pallid, and gray taking on type unsettling appearance, a passenger crisp up sitting in an warplane seat. Yin appears not be introduced to attach any meaning to significance work, although in contrast rule her bright colors of bunch up other works, the monochromatic tones of the work attempts thicken find consolation, becoming the replica of solitude, repression and nervousness 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 always China’, A. Asia Pacific, xx (1998), pp. 50–57

Transience: Chinese Hypothetical Art at the End be taken in by the Twentieth Century (exh.

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

Lin Xiaoping: ‘Beijing: Yin Xiuzhen's The Ruined City’, 3rd Text, xlviii (Autumn, 1999), pp. 45–54

‘Ai Weiwei: Yin Xiuzhen. Examine with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Coeval Art Awards (CCAA) 1998–2002, shock.

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

Chopsticks: Song Dong stomach Yin Xiuzhen (exh. cat. give up Song Dong, Yin Xiuzhen, leading C. W. Mao; New Dynasty, Chambers Fine Art, 2003)

References