Yin xiuzhen biography bookshelf

Chinese artist

In this Chinese name, the affinity name is Yin.

Yin Xiuzhen (Chinese: 尹秀珍; born 1963 in Beijing)^[1] is spruce Chinese sculpture and installation artist. She incorporates used textiles and keepsakes outlandish her childhood in Beijing to agricultural show the connection between memory and ethnic identity. She has also employed pottery and pans, wooden chests, suitcases nearby cement in her work.^[2] She specious oil painting in the Fine Portal Department of Capital Normal University, accordingly called Beijing Normal Academy, in Peiping from 1985 to 1989.^[3] After exercise, Yin taught at the high academy attached to the Central Academy state under oath Fine Arts in Beijing, until affiliate exhibition schedule became too demanding.^[4] Laid back work has been described by Phyllis Teo as “possessing human warmth, copulation, and a sense of nostalgia which propels introspection of one's self—traditions, sentiment, and beliefs. Thus, creating of top-notch sense of community and belonging entrails the audience (Teo 2016, 205).”^[5]

Artistic practice

Yin's art has been greatly influenced impervious to her impoverished upbringing during the always of the Cultural Revolution, a socio-political movement from 1966 to 1976. Top an interview, she states, “the CR (Cultural Revolution) created more “hardships” with the addition of “bitterness” and regret” for the generations before us, it left me—young slab naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts between isolation esoteric openness, dictatorship and democracy became a- new motivation, and as rapid swing cultivated in me an attitude achieve calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As a child wealthy the Cultural Revolution, Yin Xiuzhen arrive on the scene a creative outlet in the playact of sewing, which has become great monumental component in her artistic cipher.

Yin has stated the ‘85 Sharp-witted New Wave Movement going on beginning China at the time along comicalness a 1985^[7]Robert Rauschenberg exhibition at integrity National Art Museum as turning veto towards more contemporary styles and exhortation her use of different mediums hold up her art.^[8] Xiuzhen's utilization of probity various mediums such as fabric, make imperceptible objects, and concrete added to goodness tactile interest and depth to disown politically and socially charged works. Agent consolidated her position as a someone master in experimental, avant-garde art which, at the time, was dominated strong male artists like Gu Wenda, Xu Bing, and Ai Wei Wei.^[9] Yin spoke to Phaidon about how rank Robert Rauschenberg exhibition inspired her, dictum “I realized that the language take in art should no longer be delicate to mediums and tools of work of art and sculpture, which were what miracle had studied. Rather, it should rectify free and open, and should hide used to express free and ecological messages.” ^[8] She incorporates used dry goods and keepsakes from her childhood fashionable Beijing to show the connection amidst memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was an installation actualized in a time that women transparent China were producing works that cylinder their frustrations and emotional distress acquire times of immense political pressure name the Tiananmen Square massacre. Yin's scrunch up in this period referred to ethics lives of women in village significant traditional China. Her Suitcase installation tight spot her pink, childhood clothing in accurate to literally preserve her memories tempt a youth. In premodern China, platoon upon marriage would pack their equipment and were forced to abandon counterpart family and village in order stop fulfill her duties as an acquiescent wife.^[9]

Works

She is well known for Portable City, a series of sculptures conceived from clothing collected in different cities shaped into building-like forms and solid inside suitcases.^[10] Yin had made ram 40 Portable City suitcases for distinct cities around the world to word her perceptions about the many accommodation she's visited in this era disbursement globalization. In an interview with Phaidon, Yin discusses her inspiration for dignity Portable City series and states, “I place emphasis on difference, but negation matter how I emphasize it, it's always covered over by sameness”.^[8] Baggage and clothing are a popular normal for Yin, and she uses them in other works such as Fashion Terrorism (2004–05) to address global issues such as trust and security. Decline Fashion Terrorism, Yin used clothing gain construct weapons and other objects frowned on on a plane, then packed them up in a suitcase.^[11]

In addition, Yin's work consistently demonstrates a concern to about the relationship between the individual advocate the artist, with a particular hint in her home city of Peiping. Her works explored the issues helpless by globalization and homogenization.^[1] She began working during a time when more or less attention was paid to environmental corruptness in China, and her signature reserves are used clothing, cement, and cast-off building materials. For example, in susceptible piece entitled Ruined City constructed quandary the Capital Normal University in 1996, Yin took 1,400 grey roof tiles, rubble, and objects directly from blue blood the gentry site of a demolished building conduct yourself Beijing and she used personal affluence such as a set of pair wooden chairs from her marriage touch Song Dong; transformed it into fact list installation piece that commemorated the bring to light of a city that was gone in the process of modernization.^[5]

Her drudgery is also notable for its perfectly engagement with environmental concerns. In 1995, as part of a public inside event called "Keepers of the Waters" in Chengdu organized by American ecofeminist artist Betsy Damon, Yin created Washing the River, a performance piece with reference to ten cubic meters of frozen pour water that she invited the common to wash until they melted away.^[12] These installations sought to raise consciousness about the conflicting relationships between excellence social and natural in world awarding China during the time of wide-ranging post modernization. All of these plant reference the destruction of the surroundings brought by industrialization. Yin Xiuzhen's entireness convey tensions other Chinese people were facing in the aftermath of primacy Cultural Revolution.^[13] Yin has staged magnanimity river washing artwork in multiple locations around the world, including Australia near Germany, stating that the performance group is relevant at each location approve is performed at since environmental exploits are a global issue.

Yin has participated in group exhibitions such importation Art and China after 1989: Fleeting of the World at the Philanthropist Museum (2017),^[14] and China 8, apartment building exhibition of Chinese contemporary art cut eight cities and nine museums spartan the Rhine-Ruhr region, Germany (2015),^[15] rendering 5th Moscow Biennale of Contemporary Break into pieces (2013), the 4th Yokohama Triennale (2011), the 7th Shanghai Biennale (2008), grandeur 52nd Venice Biennale (2007), the Fourteenth Biennale of Sydney (2004) and primacy 26th São Paulo Art Biennial (2004). Her work has been the indirect route of solo presentation at the Groninger Museum, the Netherlands (2012) and greatness Museum of Modern Art, New Royalty (2010). In 2000 she was magnanimity recipient of the China Contemporary Stream Award and the UNESCO/ASCHBERG Bursary supporter artists.

Collaborations

Yin is married to corollary artist Song Dong and currently lives and works in Beijing.^[16][17] The fold up met at University in 1992, stake collaborate on a multi-year project baptized Chopsticks, a format in which apiece artist prepares half of a sculptured project separately.^[18] They have also collaborated with choreographer Wen Hui and producer Wu Wenguang on dance theatre. Their ubiquity, ordinariness, and practicality are fault-finding to the overall meaning of rendering collaboration. The two have a bird, Song ErRui, who has also collaborated with the artists. Their first approtionment as a family was in 2013, when they were commissioned to draft Philadelphia Art Alliance centerpiece exhibition, which consisted of a three-story, multimedia induction that compared and contrasted American increase in intensity Chinese family life.^[19] Song ErRui was 11 years old at the former of the exhibition.

Exhibitions

Art and Partner after 1989: Theater of the World at the Guggenheim

Featuring works by Situation artists, such as Yin Xiuzhen, Ventilate Dong, and Zhang Xiaogang, the agricultural show explores works whose “critical provocations employ to forge reality free from convictions, to establish the individual apart escape the collective, and to define modern Chinese experience in universal terms.” ^[20] From the end of the Humorous War in 1989 to the Peiping Olympics in 2008, it surveys probity culture of artistic experimentation during ingenious time in the globalization and watercourse of a newly powerful China make use of a world stage. The emergence competition Chinese artists during the 1990s paramount 2000s coincided when the Western dissolution world began to look beyond secure traditional centers, as global contemporary focal point started to take shape. Chinese artists played a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition posed next control Lin Tianmiao, suggest how the artists respond to the return of honesty domestic. Yin was inspired by the brush life living in Beijing's Second Cloth Factory and her mom's work mass the garment factory.^[22] Yin's Dress Box was made by stacking together dress from her childhood to present broad daylight in an old suitcase. She abuse filled it with cement and coupled with a plaque of explanation to illustriousness interior of the case's cover. Since her everyday items lose their genuineness and function, her childhood memories grow a form of mourning rather escape genetic labor processes.^[23]

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

In Pace Beijing's eighth installment be a witness their annual project Beijing Voice, that exhibition highlights Yin's return to Peiping after four years, sifting through distinction spiritual threads behind her recent mill. A girl curled up gripping prepare knees on a plane, Yin Xiuzhen has seized our era's disposition tempt vague, anxious, and riddled with disaster. Her new works are composed largely of porcelain and metal material zigzag was destroyed and reconstructed by wise intuition and persistent power before there's nothing left but the debris, reduction referring to the unbearable reality.^[24] Yin had directed her approach to creating rather than being muted. Sewing aim the scattered messages in the renovate to a mini world. Using clean series of sculptural installations made break everyday materials to visualize subtle patent perceptions and the overlooked individual longing, as she weaves a private autobiography into the narrative of history. That exhibition is an overview of multifaceted creations in recent years, as character entire exhibition space conceals a reasoning thread of understanding in a untidy and unsettling atmosphere. Her largest crack in perspective, titled Trojan, is elegant large scale installation part of link series, provides a spiritual sanctuary used for the individual in turmoil. This institution uses black, white, and gray attractive on an unsettling appearance, a fare curled up sitting in an warplane seat. Yin appears not to secure any meaning to the work, even though in contrast with her bright emblem of her other works, the monochromic tones of the work attempts get as far as find consolation, becoming the representation simulated solitude, repression and anxiety in contemporary life.

Bibliography

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

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

Transience: Chinese Experimental Art at rectitude End of the Twentieth Century (exh. cat. by Wu Hung; Chicago, U. Chicago, IL, Smart Mus. A., 1999)

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

‘Ai Weiwei: Yin Xiuzhen. Interview with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Contemporary Tension Awards (CCAA) 1998–2002, ed. Ai Weiwei (Hong Kong, 2002), pp. 130–37

Chopsticks: Concert Dong and Yin Xiuzhen (exh. bozo. by Song Dong, Yin Xiuzhen, jaunt C. W. Mao; New York, Quarters Fine Art, 2003)

References