An Opera for Animals

百物曲

Jun 22, 2019 – Aug 25, 2019

Rockbund Art Museum, Shanghai and Para Site, Hong Kong are pleased to announce the opening of “An Opera for Animals” on June 22, 2019 at Rockbund Art Museum Shanghai. The exhibition runs through to 25 August 2019 and features 53 artists who challenge existing boundaries between art and other disciplines, including artisans, healers, teachers, researchers, filmmakers, choreographers, activists and poets.

“An Opera for Animals” takes the history of different versions of opera as a departure point to explore both contemporary and traditional uses of performance, fantasy, and group spectacles in relationship to the environments that they inhabit. Intimately connected to the making of myths, the fabrication of events, orchestration, and invention of new technologies, opera emerged seeking to synthesize different aesthetic forms into a unified experience audiences could immerse themselves within. Like the complex history of the museum or exhibition, it has gradually developed into another collective kind of ritual. At the height of its development in the West, opera increasingly became conjoined to the vision and forceful influence of colonization, and we re-contemplate the medium as a compromised interface that precipitated struggles with indigenous worlds and other knowledge systems.

 

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 Something in the Air

有一团神气

This artwork is an inflatable model of a stone, engraved with the Tibetan words བསམ་བློའི་མཐོ་ཚད་ཀུན་གྱི་མཆོག (精神高于一切), or“Spirit Above All.” It has been magnified one milliontimes. The original stone was specially produced by a local Marnyi stone artisan for the “SpiritAbove All”series, for which Zhao carved the phrase onto manyrocks of different sizes. As part of the project, in 2016,Zhaounfurled an abstract cloth installation 116 meterstall by 86 meters wide in a mountainous area of Tibet,exposing it to the elementsfor half a year beforepresenting it in Beijing Peoples’ Stadium on 18 May 2018.Using Marnyi stones as inspiration, the artist hasnowcreated his newest artwork, Something in the Air, a “hugebut hollow” inflatable Marnyi stone. Perched betweensky and sea,the air inside seems to be charged with acertain energy. The artwork seems to ask: how does ourknowledge—cultural, political,or religious—influenceour perceptions of art? Details »

赵要——混蛋,人生哪里有那么容易的啊!

文-毛竹  | ARTSHARD艺术碎片 

很难想象当赵要在北京公社为他的新作“有神的信号,有神的信号”布展时,内心想到的竟是上世纪八十年代最优秀也最有代表性的硬科幻电影《银翼杀手》。那部慢节奏且人文气十足的赛博朋克(cyber-punk)电影嘲讽了科幻界对未来世界的幼稚崇拜与盲目幻想,将未来世界冠以一种西方文明分崩离析之下东方文明作为主导的潮湿阴暗、美感颓废、情绪伤感的基调——影片中的反乌托邦色彩,对本质主义的质疑,无处不在的虚无主义,构成了这部电影之所以经久不衰的原因。

这也似乎暗合了赵要本人在其最新作品“有神的信号,有神的信号”中的精神气质:九个宁玛派(红教)喇嘛修行的帐篷错落分布,帐篷里各色LED显示屏播放着不同的TED演讲内容——传统与当代,精神与物质,本质与还原之间的紧张关系,在“有神的信号,有神的信号”这件作品的诸多细节线索中不断得到回溯。

“宁玛”在藏语中是“旧”“古”的意思,相应于其后三大具有革新意味的传承派别,宁玛派是一个没有寺院、组织涣散,也没有系统教义和完整僧侣制度的“古旧”教派。展出使用的帐篷房子是宁玛派喇嘛每年为期一百天的静修时间中必须长时间寄身其中的用品,它们是喇嘛的私物,前后呈方形,内部会根据个人的偏好采用不同的装饰,外部则多为红色和白色。在赵要的创作中,每个帐篷都被置入了一个根据构成google图标的蓝红绿黄四色元素设计的纯色LED屏幕,每个屏幕的颜色都跟帐篷的颜色相和谐。观者从帐篷外部的缝隙中可以窥视到内部LED屏幕上的内容:九个帐篷对应九个截然不同的TED演讲。赵要将每个演讲的掌声、互动和图像去掉,仅用蓝红绿黄四色纯色作为底色,配以白色的中英文演讲词。从帐篷外部看来,纯色LED屏的冷光与红色白色的帐篷颜色两相呼应,传统的宗教与最新的技术两两结合,或许这正是赵要所追求的“银翼杀手”的效果。 Details »

Signals from Heaven, Signals from Heaven.

有神的信号,有神的信号。

11. 3 – 12. 25. 2018

Beijing Commune is delighted to announce the opening, on November 3rd, 2018, of Zhao Yao’s newest exhibition: “Signals from Heaven, Signals from Heaven.” This is Zhao Yao’s fourth personal exhibition at Beijing Commune Gallery, where it will be on display until December 25th.

The works presented in this exhibition constitute a whole new development for the artist, following his project “The Spirit Above All” (2016-2018). Taking personal and social experience as his starting point, Zhao Yao pursues his questioning on the topic of universal questions and spiritual matters.

Zhao Yao’s work has always focused on the psychological complexes and rational consciousness within various social backgrounds and in different cultures. His installations, paintings, and video works rely notably on such fundamen- tal elements as the perception of forms, or the tactile sense, in order to represent people’s understanding of art, and experiential cognition.

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Play

“Man plays only, where he in the full meaning of the word is man, and he is only there fully man, where he plays.”

—— Friedrich Schiller

MadeIn Gallery is pleased to present “Play” an exhibition showcasing new paintings and sculptures by Lu Pingyuan, Shang Liang and Zhao Yao. In this exhibition, three artists’ works commonly share a spirit of lightness and playfulness, bringing aesthetics, concepts and art into the field of game. As a method for the observation of art, game arises in the gallery space.

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The Power of Nature:A Ten Thousand Square Meter Painting in Beijing

自然的力量:一万平米作品在北京

2018.5.18

尤伦斯当代艺术中心(UCCA)携手艺术家赵要,于2018年5月18日在北京工人体育场呈现艺术项目“自然的力量:一万平米作品在北京”。此次项目将呈现艺术家历时三年完成的10, 000平米大型装置作品:艺术家将这件长116米、宽 86米的大型装置作品置于人迹罕至的自然环境中,经历半年的风吹日晒后撤下并回收展示。这是作品撤回至城市后的首次展示,是作品最重要的发展和全新的延续。

2016年至2017年实施的此项目是艺术家赵要2013年于伦敦佩斯画廊举办的个展“精神高于一切”的延续和发展。这件巨幅的大型装置作品图形选自《很有想法的绘画》作品中相同的思维游戏图案,经过北京工厂一年多的准备和制作后于2016 年 10月运抵实施地。2016年11月,150多位当地村民一起用一整天的时间,将其固定在海拔近5, 000米的无人区雪山山顶,将代表都市与现代化审美的抽象几何图案暴露在人迹罕至的环境里,在漫长冬季的恶劣自然中接受大风大雪的浸染和日月星辰的照耀。经过近半年的风吹日晒,浮华尽去,色彩渐褪,自然与人文的种种痕迹完整地留在了作品的表面。约翰·沃尔夫冈·冯·歌德在其作品《少年维特之烦恼》中写道:“只有自然,才是无穷丰富,只有自然才能造就大艺术家。”2017年5月,作品顺利撤下并运回至北京,自此开始在城市中的巡回。2018年5月18日,这块蕴含丰富经历、保留诸多痕迹的大型装置作品被带到位于繁华都市中心的北京工人体育场,第一次完全展开呈现。此前的自然与人文经历被注入新的展示空间中,使现代性和都市化的丰富历史文化认知与记忆在此汇聚。艺术家期望以此触发久居在现代化都市里的人们心中对自然精神的向往和对坚韧意志的追求。 Details »

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Zhao Yao Spirit Above All, 2016

【预告】赵要最新10000m²大型装置”精神高于一切”11月23日即将呈现

2016.11.23  Spirit Above All

10, 000-square-meters work

Will be on display here

On November 23, 2016, Zhao Yao’s latest large-scale art work, Spirit Above All, will be carried out at Moye Temple in Baizha at Nangqian County, Yushu autonomous prefecture, Qinghai province. The 116-meter-wide-and-86-meter-long work is the continuation and development of Zhao Yao’s 2012 work of the same name, Spirit Above All. After more than two years’ preparation and production, the work has been successfully transported to the mountain of Moye Temple at the end of October. With the assistance and support of the temple and Chakme Rinpoche , the work will be carried to the snowy summit by more than 100 local villagers and then unfolded there, almost 5000 meters high above sea level. Selecting patterns of thinking puzzles from the series A Painting of Thought and employing large-scale Tibetan Thang-ga cloth sticker technique, the new Spirit Above All is produced according to the size of Thang-ga at Moye Temple (120×80 meters). The 10, 000-square-meters work will be installed at the mountain top, alongside the existing Buddhist sutra streamers, white pagoda, and cliffside murals in the valley, echoing the local natural and cultural environment. The work will be exposed to natural environment for a whole winter and then be collected and displayed. The project aims to establish multiple cultural projects via local cooperation under the theme of “drying painting”. Meanwhile, various changes of the work will be monitored and recorded, throughout which process the work will accept and welcome visitors continuously.

Please stay tuned!

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The Last Egg

最后一个鸡蛋 | 25.8.2016~8.10.2016

During the production stage, the artist develops a special material composed solely of calcium carbonate powder. The materia lsolidifies after sun exposure, such that it resembles the coating texture of eggshells once mounted onto the surface of the gallery walls. Sharing the exact same components as real eggshells, these artificial ones can even be peeled off the walls to reveal the white surface underneath. The pattern of the“eggshells” is based on seven diagrams of strikingly wavy curves chosen by the artist. Taken from various statistics reports, these diagrams expose the human desire for absolute clairvoyance and control, while resonating with the zeitgeist of an age of rational reasoning. Once mounted onto the walls, the“eggshells” are left in a completely unruly state to crack and peel off at will; they adorn the white surface of exhibition walls with a nutritious feel, in a manner that sublimates them. This mottled spectacle invokes a conscious appreciation for texture and form——both essential elements of abstract art that determine a valid artist experience. Details »

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A Sculpture of Thought

《很有想法的雕塑》

A Beautiful Disorder/Jul 3rd – Nov 6th
CASS SCULPTURE FOUNDATION
Similar to the A Painting of Thought series, the work contemplates issues essential to art from a three-dimensional perspective. Therefore A Sculpture of Thought and A Painting of Thought have a parallel relationship. The form of the sculpture also adopts directly from brain-teaser puzzles, everything is ready – images, colours, structure. All kinds of apparent visual elements combined with hidden abstract concepts are of essence to the creation of this piece. Through the manoeuvring of rational experience, texture of the material, visual recognition and all aspects of physical + mental sensations, the work forms a sudden satisfaction in pursuit of meaning. The material PVC plastic is widely used in the manufacturing of children’s slides, and the form of the sculpture is blown to 6 meters tall and placed in the reality of our social environment. The installation method also mimics construction toys, further lightens the sculpture with the plastic shine that’s apparent on actual children’s toys – a divine aura of the sculpture. A playful yet serious way of responding to the daily experience of plastic goods and their sparkles as the highlight of their times. The methods of evaluating / appreciating art elevates the position of gaming, yet at the same time the mundaneness and straightforwardness of gaming from both sensual and logical perspectives re-evaluates our aesthetic habits.

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About Painting Too

与绘画的动作有关

2015/08/22-2015/11/01

“About Painting Too” is the second in a series of exhibitions that each addresses a topical issue within art today, and with particular reference to art in China. This year, young curator Pu Hong was invited to present a topic of his choice. Continuing the critical engagement with painting that was explored in the first exhibition in the series, “About Painting” in the spring of 2014, Pu Hong again takes painting as his subject. Through the work of eight artists, he selects a range of older and more recent works, each of which is distinctive of the style and approach for which each of the artists are known. Several, including Xu Zhen/MadeIn, Zhang Enli and Ding Yi, are very well known indeed and have, in recent years, been the subject of a series of large-scale solo exhibitions in China and abroad. In their especial way, Wang Chuan, Yang Shu and Xu Hongming have each made a significant contribution to the language of abstract painting in China, while the younger artists included here, Wang Guangle and Zhao Yao, bring the distinct energy of their generation to the art they produce.

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“Archipelago” group exhibition

群岛

15 September – 6 October 2013


V-Art Center and Art-Ba-Ba Mobile Space is proud to announce “Archipelago”, an group exhibition academic guidanced by Liu Xinghua consisting of six individual artists; He An, Zhao Yao, Ding Li, Zhang Jiebai,Lu Pingyuan and Liao Guohe presenting their newest works at V-Art Center. Archipelago is by definition a cluster or collection of islands. Based partially in Beijing and Shanghai they have come together as a set of islands forming an archipelago for the audience to explore. “Archipelago” is a condition a state of mind, together they share the same values acting as a dispersed force. As with today’s society, where we emphasize individality, separating, sometimes even isolating, ourselves from the idea as an collective. What “Archipelago” is about is that although in the midst of today’s society where an individual may seem as an isolated islands, we’re actually a part of something larger. If we’re willing to step outside our own islands, there’s more to discover in our near surroundings. In a lot of senses we need to take our environment into account. Therefore “Archipelago” is not a theme, there’s no hidden agenda but rather a condition of these five artist’s at the same time refecting today’s society.

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Zhao Yao: Spirit Above All

Voon Pow Bartlett | Yishu Volume 12, Number 4, July/August 2013

According to Pace London Gallery press release, the artworks for Spirit Above Allwere brought to Tibet to be blessed by a “Living Buddha.”[1] This is documented through mural photographs of the Tibetan landscape that provided the backdrop on the walls of the gallery upon which the paintings are hung. The press release also informs us that the artist is “fascinated by the relationship between art and its audience,” creating an “on-going cycle of self-assessment, and reconstruction of the old to produce the new, a process the artist describes as ‘self-consumption’.”[2] Zhao Yao expresses the wish to challenge how art is perceived, that ‘‘the attention should never be on the paintings themselves, which I deliberately repeat in different series to deconstruct their visual power, but the concept behind the forms. I am interested in the way we look at exhibitions and how our pre-existing knowledge, whether cultural, religious, or political, affects our perception of art. I like to provide context for my works, but not to disclose my own opinion so the discussion can remain open. In the same way that the puzzles I use aim at training one’s brain to think logically, I want my exhibitions to challenge people’s conventional way of looking at art.”[3]

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Zhao Yao Spirit Above All at Pace London

中文   | phaidon.com

Chinese artist tells Phaidon about 200 mile journey to Tibet to have new paintings blessed by living Buddha.We were reflecting on Pace Gallery founder Arne Glimcher’s views on Chinese art as we took in a show that opened at Pace London yesterday. The works by Beijing-based artist Zhao Yao in his exhibition Spirit Above All are a prime example of Glimcher’s assertion of the importance of the narrative in Chinese art right now. We’ll recap briefly in case you missed it first time round.

“There’s an urgency there that does not exist here (in the west). The Cultural Revolution destroyed the entire history of China for a generation. So you’re dealing with the oldest country in the world and the newest country in the world and that schism between who they were and who they are and what is happening in China – that’s the narrative.”

As we know, understanding or following this narrative can be tricky at times but Zhao Yao, a young Chinese artist currently showing at Pace London 6-10 Lexington Street is inviting the viewer to reflect on their own perceptions of his work, saying the interaction with the artwork and the self-consciousness of the viewer is at the crux of it.

Spirit Above All comprises seven new geometric works by the artist, painted in black, white and grey acrylic on denim – a material recognised for its durability. And that last point is important because as part of the process, Zhao travelled with the (between two and three metres tall) paintings on a 200 mile journey of discovery to Tibet to have them blessed by a living Buddha.

The journey was arduous and the paintings were damaged en-route, something Zhao had expected and planned for – as best he could.

“The trip took 10 days. It was 20 degrees below freezing and 5,000 metres above sea level,” he told us. “The oxygen level is very thin in the winter and I was worried at one point that the paintings would be too damaged,” he told Phaidon. “But the villagers were all aware that I was there to see The 9th Chakme Rinpoche and were helpful. Details »

Zhao Yao:Spirit Above All

精神高于一切

Feb 12, 2013 – Mar 16, 2013

Pace London is pleased to present Spirit Above All, the first solo exhibition in the UK by the conceptual Chinese artist Zhao Yao. Spirit Above All will be on view at 6-10 Lexington Street from 12 February to 16 March 2013. The exhibition is a collaborative project between Pace London and Beijing Commune. Spirit Above All features seven new works created by Zhao Yao in 2012 and marks the first time that he has contextualised his paintings with photographic backdrops in a gallery. The exhibition features abstract geometric compositions painted in black, white, and grey on pieces of denim, a material that is recognised for its durability. Once completed, the artist brought the artworks to Tibet to be blessed by a “Living Buddha”, a reincarnation of a previous Buddha according to the Buddhist religious doctrine. Zhao Yao documented this process through photographs of the Tibetan landscape, which not only provide backdrops in the gallery but will also be presented in albums for visitors to look at while seated on the straw mats that form part of the installation.

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ON | OFF: China’s Young Artists in Concept and Practice

中文  |2013.1.13 – 2013.4.14 | UCCA

 

The Ullens Center for Contemporary Art opens its 2013 program with ON | OFF: China’s Young Artists in Concept and Practice. This groundbreaking exhibition, which will occupy all UCCA exhibition spaces, marks the most comprehensive survey to date of the generation of artists born after the death of Mao and the end of the Cultural Revolution, and at the dawn of the country’s era of opening and reform. Unparalleled in scope and unprecedented in concept, ON | OFF will feature 50 commissioned works by 50 artists and artist groups.

Curated by Bao Dong and Sun Dongdong, ON | OFF is an effort to effectively document a new generation of Chinese artists born after 1975 who have “grown up in a society and culture beset by binaries, constantly toggling between extremes.” The title ON | OFF, which comes from the graphical interface of a common VPN (virtual private network) software used to scale China’s Internet firewall, represents this binary condition at its simplest and most direct. Details »

Zhao Yao: You Can’t See Me, You Can’t See Me 

赵要:你看不见我,你看不见我

June 12 – August 20, 2012 | Beijing Commune, Beijing

“You Can’t See Me, You Can’t See Me” is a continuation of Zhao Yao’s solo exhibition from 2011, which opened on the same day in the same month this year. The paintings and installations showcased are reflections of time and space through a déjà-vu-esque approach re-examining the validity and meaning of an exhibition. This show features reproductions, enlargements, and scaled-down versions of works from the previous year. In addition, few pieces from the prior show are borrowed back from collectors to be included in the 2012 show. Zhao deliberately intertwines the relationship and roles of artists, viewers, gallerist, and collectors by presenting these workstogether in this show.

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51㎡:3# ZhaoYao

51㎡:3# 赵要

2009.12.12 – 2009.12.26 | Curators: TANG Xin, SU Wenxiang|Taikang Space

“51m2” aims to provide a platform for artists, particularly young artists, to review their recent works through a series of consecutive or non-consecutive exhibitions and activities. As an exploration outside of the exhibition system, the project hopes to provide support for artists to create subjectively and independently, thereby enriching and broadening our experiences in artistic practice. In the future, we will be able to summarize the artistic reality from this period of accumulation.
In a series of recently-created installations, Zhao Yao stopped focusing on the imaging function of photography. On the contrary, the artist tried to create a sense of silence, withdrawal or even passage with all the images in his works. Details »