PLAY

LU PINGYUAN, SHANG LIANG, ZHAO YAO

2018.05.12 to 2018.06.23MadeIn Gallery, No 106, 2879 Longteng Avenue, Shanghai

“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

工人体育场

Workers’ Stadium

 

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。

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【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.

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《很有想法的雕塑》2016/A Sculpture of Thought

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]

 

Spirit Above All consists of a series of paintings, nine in all, executed with acrylic on denim, averaging a size of 250 x 200 x 8 cm. The colour scheme of the installation gives an impression of a grey day in London. Nevertheless, I found myself drawn to the shapes and patterns on the canvases and challenged to recall my mathematical training. There were circles combined with triangles to look like rabbit ears, circles on squares, cuboids that look like square rooms placed on their sides and some on their oblique sides, with their roofs sliced off, providing views from the top, like scenes from ancient Chinese paintings. Pentagons, octagons, parallelograms, and intersecting rings, executed in black, white, and light grey on stripy bluish denim canvases.

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Zhao Yao Spirit Above All at Pace London/中文

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.”

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Zhao Yao:Spirit Above All/精神高于一切

Feb 12, 2013 – Mar 16, 2013

6-10 Lexington Street, London, W1F 0LB

12 February – 16 March 2013

Opening: Monday, 11 February 2013, 6 – 8 p.m.

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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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, China

“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 works
together in this show.

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ON | OFF: CHINA’S YOUNG ARTISTS IN CONCEPT AND PRACTICE/中文

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 »

Smile-01

51㎡:3# 赵要

2009.12.12 – 2009.12.26

策展人:唐昕,苏文祥

 赵要在他的到目前为止并不算长的艺术经历中,曾一度沉迷于摄影。那是一门将物质和形象如何留驻的技艺,通过对它们的定格以及曝光和显影,得到人们关切的图像。不过,从艺术家开始留意平板扫描技术起,就注定了他并不能成为一个老实的摄影家,他通过摆弄静物随扫描头一起运动,最终创造出那些静中兼有运动痕迹的作品。正是这一探索过程给于自己超越传统关注的鼓励,赵要逐渐开始扩大了自己的兴趣范围。在一系列新的装置作品中,他不再关注像摄影术那样如何显现一个形象,而是让它们如何在作品中沉默,或者退隐,甚至消逝。那些被打磨的发亮的硬币,在去除得以标立国别与价值的形式之后,只留下更本质的基础的形状;花花绿绿的纸币上除了微笑的人物形象,其它区域一律被铅笔涂成死黑;如此,如硬币上抹除了图案只留有形象的对比,这些人物仿佛共处在一个更加公平安静的平台。还有将每天接触到的数字信息用彩色记号笔书写在长长地布条上,每一段长度的色彩即是对生活的丈量。而另一个,间或跳动的时间机器据艺术家说其规律来自网络聊天室,分秒的停顿背后饱含了大量的话语与倾诉的愿望,只是主体不在,仅剩有空洞的数字。