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| International Art Scene II |  |
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| LES CHAMPS De La Sculpture |
International
Art Scene I International Art Scene II International Art Scene III |
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| Date:
September 15~November 14,1999 Venue: Avenue Des Ch(ps) Elysees Featured Artists: Stephan Balkenhol Daniel Buren Nora Correas Anthony Cragg Erik Dietman Braco Dimitrijevic Sokari Douglas Camp Peter Downsbrough El Anatsui Mohamed El Baz Barry Flanagan Bruno Gironcoli Red Grooms aymond Hains Keith Haring Helena Hietanen Ravinder Singh Jamwal Ilya Kabakov Dani Karavan Marin Kasimir et Frederic Migayrou Kcho John Kelly Alain Kirili Frans Krajcberg Bertrand Lavier Manolis Maridakis Brigitte Nahon Katshito Nishikawa Nam June Paik Bernard Pages Panamarenko Giuseppe Penone Michelangelo Pistoletto Jaume Plensa Anne et Patrick Poirier Rober Racine Jean-Pierre Raynaud Ulrich Ruckriem Jean-Michel Sanejouand George Segal Maria Serebriakova Susumu Shingu Vladimir Skoda Jessica Stockholder Joon-Young Suh Sui JianGuo Bernar Venet Henk Visch Wang Keping Lawrence Weiner Kan Yasuda Gavin Younge -------------------------------- Wang Keping "Les spectateurs" 1999 400 x 200 x 260 cm Chene massif Pret de l'artiste. Remerciements a la galerie Zurcher, Paris. Photo: W.Keping Wang Keping Wang Keping is one of the founders of the non-conformist artists' group Xing-Xing (Stars), created in Beijing in 1979. He and other members of the group have only recently returned to teach in art schools in Beijing. For "Champs de la Scupture 2000," the artist created a monumental group of eight figures in two rows, back to back, sculpted using a single piese according to chan principles (the Chinese equivalent of Japanese zen). Their highly simple form uses the natural lines of the wood's knots, streaks and formations. Wang Keping respects the essence of the material in giving his figures life. This is why their limbs are truncated and their faces blind, at times pierced by a hole that is more evocative of a scream than the contours of a mouth. This sculpted group, which is an allusion to Rodin's Burghers of Calais, designates a few anonymous Chinese people and commemorates them as victims of political doublespeak. |
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Legacy Mantle Sui Jinguo began working in factories at 16, became interested in art and attended night classes. He then worked at the regional cultural center and organized artistic training programs for workers. By the end of the 1980s, his works were inpregnated with the radicalism then in vogue. After the Tienanmen Square tragedy in 1989, his work became more influenced by Taoism, its tendency toward aestheticism, and its striving for formal and technical perfection. His first stone work, inspired by the cement structures with steel rods jutting out found on construction sites, evoked the oppression rampant in Chinese society at the time. The Legacy Mantle series mards a purely formal turning point; the human being remains the artist's main subject. The figurative Legacy Mantles show man as a product of his culture. At first a symbol of modernity, the Mao jacket became emblematic of the rigidity of the cultural dictatorship after the Cultural Revolution. The title refers to the priests' robes handed down from generation to generation. |
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