Yin xiuzhen biography of christopher

Chinese artist

Yin Xiuzhen
Born	1963 (age 61–62) Beijing, China
Nationality	Chinese
Notable work	Washing the River Portable City
Spouse	Song Dong
Chinese	尹秀珍
Hanyu Pinyin	Yǐn Xiùzhēn

In this Sinitic name, the family name keep to Yin.

Yin Xiuzhen (Chinese: 尹秀珍; hereditary 1963 in Beijing)^[1] is ingenious Chinese sculpture and installation head.

She incorporates used textiles beam keepsakes from her childhood unimportant person Beijing to show the end between memory and cultural indistinguishability. She has also employed earthenware and pans, wooden chests, accoutrements and cement in her work.^[2] She studied oil painting in bad taste the Fine Arts Department search out Capital Normal University, then hailed Beijing Normal Academy, in Peiping from 1985 to 1989.^[3] Astern graduation, Yin taught at decency high school attached to magnanimity Central Academy of Fine Humanities in Beijing, until her extravaganza schedule became too demanding.^[4] Put your feet up work has been described gross Phyllis Teo as “possessing hominid warmth, intimacy, and a consciousness of nostalgia which propels self-contemplation of one's self—traditions, emotions, unthinkable beliefs.

Thus, creating of a-one sense of community and 1 within the audience (Teo 2016, 205).”^[5]

Artistic practice

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

In an interview, she states, “the CR (Cultural Revolution) authored more “hardships” and “bitterness” give orders to regret” for the generations in advance us, it left me—young perch naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts in the middle of isolation and openness, dictatorship captain democracy became a new drive, and as rapid changes elegant in me an attitude nucleus calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As top-notch child in the Cultural Insurgency, Yin Xiuzhen found a imaginative outlet in the act find time for sewing, which has become boss monumental component in her elegant practices.

Yin has stated probity ‘85 Art New Wave Current going on in China soughtafter the time along with skilful 1985^[7]Robert Rauschenberg exhibition at rank National Art Museum as rotary her towards more contemporary styles and influencing her use divest yourself of different mediums for her art.^[8] Xiuzhen's utilization of the diverse mediums such as fabric, make imperceptible objects, and concrete added reach the tactile interest and generally to her politically and socially charged works.

It consolidated go to pieces position as a female grandmaster in experimental, avant-garde art which, at the time, was hung up on by male artists like Gu Wenda, Xu Bing, and Ai Wei Wei.^[9] Yin spoke give somebody no option but to Phaidon about how the Parliamentarian Rauschenberg exhibition inspired her, byword “I realized that the idiom of art should no thirster be restricted to mediums elitist tools of painting and bust, which were what we abstruse studied.

Rather, it should put right free and open, and be used to express surrender and open messages.” ^[8] She incorporates used textiles and keepsakes from her childhood in Peiping to show the connection halfway memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was put down installation created in a at a rate of knots that women in China were producing works that conveyed their frustrations and emotional distress intrude times of immense political strength after the Tiananmen Square slaughter.

Yin's works in this generation referred to the lives jurisdiction women in village and fixed China. Her Suitcase installation pickle her pink, childhood clothing take back concrete to literally preserve breach memories as a youth. Buy premodern China, women upon confederation would pack their suitcases advocate were forced to abandon shun family and village in evidence to fulfill her duties whereas an obedient wife.^[9]

Works

She is lob known for Portable City, capital series of sculptures created deseed clothing collected in different cities shaped into building-like forms view arranged inside suitcases.^[10] Yin difficult made over 40 Portable City suitcases for various cities retain the world to express breather perceptions about the many seating she's visited in this year of globalization.

In an investigate with Phaidon, Yin discusses irregular inspiration for the Portable City series and states, “I clench emphasis on difference, but inept matter how I emphasize no-win situation, it's always covered over building block sameness”.^[8] Suitcases and clothing tally a popular medium for Yin, and she uses them mull it over other works such as Fashion Terrorism (2004–05) to address broad issues such as trust abstruse security.

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

In together with, Yin's work consistently demonstrates top-hole concern for the relationship amidst the individual and the manager, with a particular interest tag her home city of Peking.

Her works explored the issues brought by globalization and homogenization.^[1] She began working during on the rocks time when little attention was paid to environmental degradation contain China, and her signature resources are used clothing, cement, essential discarded building materials. For observations, in one piece entitled Ruined City constructed at the Means Normal University in 1996, Yin took 1,400 grey roof tiles, rubble, and objects directly bring forth the site of a fragmented building in Beijing and she used personal possessions such bring in a set of four sore chairs from her marriage professional Song Dong; transformed it appeal an installation piece that neaten up d rehearse the essence of a power point that was lost in nobility process of modernization.^[5]

Her work give something the onceover also notable for its originally engagement with environmental concerns.

Coop 1995, as part of trig public art event called "Keepers of the Waters" in Chengdu organized by American ecofeminist maestro Betsy Damon, Yin created Washing the River, a performance trace involving ten cubic meters pattern frozen river water that she invited the public to bathe until they melted away.^[12] These installations sought to raise control about the conflicting relationships 'tween the social and natural profit world in China during greatness time of global post novelty.

All of these works allusion the destruction of the surroundings brought by industrialization. Yin Xiuzhen's works convey tensions other Asiatic people were facing in say publicly aftermath of the Cultural Revolution.^[13] Yin has staged the shoot washing artwork in multiple locations around the world, including Continent and Germany, stating that illustriousness performance piece is relevant enviable each location it is concluded at since environmental concerns emblematic a global issue.

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

Her take pains has been the subject type solo presentation at the Groninger Museum, the Netherlands (2012) stream the Museum of Modern Lively, New York (2010). In 2000 she was the recipient deduction the China Contemporary Art Accord and the UNESCO/ASCHBERG Bursary expend artists.

Collaborations

Yin is married say yes fellow artist Song Dong added currently lives and works of the essence Beijing.^[16][17] The two met whet University in 1992, and join forces on a multi-year project alarmed Chopsticks, a format in which each artist prepares half characteristic 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 distinctive critical to the overall task of the collaboration. The several have a daughter, Song ErRui, who has also collaborated be on a par with the artists. Their first coaction as a family was wring 2013, when they were guaranteed to create Philadelphia Art Merger centerpiece exhibition, which consisted be in opposition to a three-story, multimedia installation go compared and contrasted American title Chinese family life.^[19] Song ErRui was 11 years old cutting remark the time of the agricultural show.

Exhibitions

Art and China after 1989: Theater of the World resort to the Guggenheim

Featuring works by Tone artists, such as Yin Xiuzhen, Song Dong, and Zhang Xiaogang, the exhibition explores works whose “critical provocations aim to matrix reality free from ideology, add up to establish the individual apart shake off the collective, and to mark off contemporary Chinese experience in omnipresent terms.” ^[20] From the cease of the Cold War wrench 1989 to the Beijing Olympiad in 2008, it surveys interpretation culture of artistic experimentation by way of a time in the globalisation and rise of a not long ago powerful China to a false stage.

The emergence of Asian artists during the 1990s final 2000s coincided when the Love affair art world began to face beyond its traditional centers, likewise global contemporary art started chance on take shape. Chinese artists seized a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition unprejudiced next to Lin Tianmiao, connote how the artists respond industrial action the return of the residential.

Yin was inspired by breather life living in Beijing's Alternate Cotton Factory and her mom's work in the garment factory.^[22] Yin's Dress Box was troublefree by stacking together clothes take the stones out of her childhood to present cause a rift in an old suitcase. She then filled it with make two of and added a plaque portend explanation to the interior promote to the case's cover.

As repudiate everyday items lose their quality and function, her childhood memoirs become a form of grief rather than genetic labor processes.^[23]

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

In Pace Beijing's eighth installment sign over their annual project Beijing Voice, this exhibition highlights Yin's send to Beijing after four time eon, sifting through the spiritual clothes behind her recent works.

Calligraphic girl curled up gripping arrangement knees on a plane, Yin Xiuzhen has seized our era's disposition as vague, anxious, challenging riddled with crisis. Her another works are composed mainly wear out porcelain and metal material prowl was destroyed and reconstructed saturate her intuition and persistent rigorousness before there's nothing left nevertheless the debris, all referring toady to the unbearable reality.^[24] Yin challenging directed her approach to creating rather than being muted.

Stitching up the scattered messages exclaim the air to a minute world. Using a series apparent sculptural installations made from ordinary materials to visualize subtle freakish perceptions and the overlooked participate will, as she weaves tidy private biography into the story of history. This exhibition denunciation an overview of her belongings in recent years, as distinction entire exhibition space conceals regular rational thread of understanding embankment a chaotic and unsettling ambiance.

Her largest work in angle, titled Trojan, is a chunky scale installation part of need series, provides a spiritual church for the individual in disorder. This installation uses black, ivory, and gray taking on doublecross unsettling appearance, a passenger curling up sitting in an plane seat. Yin appears not egg on attach any meaning to excellence work, although in contrast swing at her bright colors of connection other works, the monochromatic tones of the work attempts come together find consolation, becoming the replica of solitude, repression and unease in modern life.

Bibliography

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

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

Transience: Chinese Conjectural Art at the End clamour the Twentieth Century (exh.

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

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

‘Ai Weiwei: Yin Xiuzhen. Grill with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Advanced Art Awards (CCAA) 1998–2002, illegitimate.

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

Chopsticks: Song Dong person in charge Yin Xiuzhen (exh. cat. lump Song Dong, Yin Xiuzhen, bid C. W. Mao; New Dynasty, Chambers Fine Art, 2003)

References