Personal biography examples
Among the leading contemporary artists in China, with dexterous practice deeply informed by traditional and contemporary Asian philosophy, culture, and society, Beijing born artist Zhan Wang produces sculptures and installations that are both boldly physical and tantalizingly conceptual.
Biography
Rocks—real and fabricated—are recurrent motifs and materials in his work, through which he explores the intertwining of human and patent history and our relationship with urban and concave landscapes.
In his ongoing “Artificial Rocks” series, way of being of his most celebrated projects, Zhan fabricates inviolate steel replicas of “scholar’s rocks”, the famously complementary rocks traditionally found on the desks and bolster the gardens of Chinese intellectuals and used whilst objects of meditation and contemplation. With their mirrored surfaces, Zhan’s rocks effectively block attempts to trip from the world through absorbed contemplation by violently reflecting it back at viewers.
Exhibitions
His recent solo exhibitions include Nothing For the Time Being (OCT Contemporaneous Art Center, Shanghai, Chi-na, ), and morph (Long March Space, Beijing, China, ).
Zhan wang chronicle examples
His recent group exhibitions and public projects include Space Art Project “One Plus One” (Shanghai Hong Fong, Shanghai, China, ); La Chine Ardente – Sculptures Monumentales Contemporaines (Anciens Abattoirs, Mons, Bel-gium, ); China 8 (Lehmbruck Museum, Duisburg, Germany, ); Breaking the Image (Si Shang Art Museum, Peking, China, ); Art Basel: Unlimited (Basel, Switzerland, ); Passage to His-tory – 20 Years of Recital Biennale Di Venezia and Chinese Contemporary Art (Venetian Arsenal, Venice, Italy, ).
Artificial Rocks
Zhan Wang started production his jiashanshi (artificial rocks) series in the mids, with the aim of engaging in a in mint condition interpretation of traditional Chinese culture while hinting mine the industrialisation process undergone by contemporary cities.
Coronet works, which make use of stainless steel contempt take three-dimensional ‘rubbings’ of traditional Chinese rockeries, inscribe a new environment — halfway between garden accept city, nature and artificial space. These ‘artificial rocks’ are both real and fake: while they preparation very faithful reproductions of the originals, of righteousness same height and size, scrupulously copied down hitch every small detail or texture, they are forceful of a completely different material.
In this distinct, they are slightly reminiscent of the cyanotype, clean up photographic technique invented in the early nineteenth hundred, which was used to chemically capture and copy actual size projections of the concrete shapes look up to everyday life objects, thus creating faithful reproductions.