Nice Online Artist Network ~ Saatchi Online

Nice Online Artist Network ~ Saatchi Online

http://www.saatchionline.com/

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The 8th Gwangiu Biennale 2010: 10000 Lives , Korea 2010.9.3-11.7 第八屆南韩光州双年展: 万人谱

Cindy Sherman women writers appeared in
person as the hero's identity or sexual violence,
despair, and work activities are covered.

  
The 8th Gwangiu Biennale 2010: 10000 Lives , Korea 2010.9.3-11.7  第八屆南韩光州双年展: 万人谱
http://gb.or.kr/?mid=main_eng

The Gwangiu Biennale was established in 1995 to commenorate the 1980 Democratisation Movement in Gwanjiu.  Now in its eighth cycle, the Biennale is Asia's oldest large scale modern art biennale.

The title is inspired from “Maninbo” or “10,000 Lives” (万人谱) the 30-volume epic poem by Korean poet Ko Un who wrote over 4,000 poems in prison for his participation in the 1980 democracy movement, the poets describe every person he had ever met -- personally or indirectly, and explores the relationships between people and images.

Main Exhibition Hall

Poet Ko Un's 'maninbo' Introduction to the lives of many people and the Gwangju Biennale, as well as making people so far left behind the many images of people hearing the story focused.

The Artisitic Director for the  2010 biennale, Massimiliano Gioni, is the youngest and the first European taken this role.   Works from 31 countries by 134 artists is now showing at Gwangiu Biennale Hall, Gwangju Museum of Art and Gwangju Folk Museum.

(Left) Graphic designer and PhotographerMorton Bartlett
Title: antique dolls
(Right) Sculptor Geiger Decades Red

Decode photographer Pilriproreuka Lee "1000"
Polaroid picture taken over 25 years in 1000 scenes

German artist Katharina
"St. Catherine break the boundaries
of the sacred and the secular"

Ydessa Hendeles: “The Teddy Bear Project”

resurrected yihanyeol

Peter Fischli and David Weiss:
“Visible World”

Zaha Hadid won RIBA Stirling Prize: MAXXI Museum @ Rome 英國建築師皇家學會史特靈獎2010得主：扎哈。哈迪德

Zaha Hadid won RIBA Stirling Prize: MAXXI Museum @ Rome

英國建築師皇家學會史特靈獎2010得主：扎哈。哈迪德

  

No place like Rome ...
Zaha Hadid outside her Stirling prize-winning Maxxi museum.
Photograph: Guido Montani/EPA

MAXXI, National Museum of XXI Century Arts
Rome, Italy
Architect: Zaha Hadid Architects
Client: Ministry of Cultural Heritage and Activities, Fondazione MAXXI and Ministry of Infrastructure and Transport
Contractor: Consortium MAXXI 2006, ITALIANACOSTRUZIONI and Società Appalti Costruzioni
Structural Engineer: Studio S.P.C., Anthony Hunt Associates and OK Design Group
Services Engineer: Max Fordham and Partners and OK Design Group
Contract Value: €150m
Date of Occupation: November 2009

Gross internal area: 21,200 sq m

The museum isn’t Rome as we know it, but is all the more exciting for that, locally juxtaposed with army barracks and industrial warehouses, but with glimpses of distant views to Roman roof tops and cupolas. Its suburban context allows it a freedom denied to architects in the centre of Rome.

This is a museum of paths and routes, a museum where the curators have to invent how to hang and place the works of 21st Century art that have been collected since inception of the project – and the century. The permeable plaza recreates routes and connections, but also forces you to consider the new context that is created to engage with the activities within. The whole building is behind a 2.5 metre high industrial aluminium mesh fence which is there to protect the outdoor art that’s planned. Its setting has echoes of OMA’s Casa da Musica, an impression re-enforced by the perched box of an upper gallery with its panoramic window, reached by an array of stairs, ramps and lifts.

The museum, for all its structural pyrotechnics, is rationally organised as five main suites. The building is bravely day lit with a sinuous roof of controllable skylights, louvres and beams, whilst at the same time conforming to very strict climate control requirements of modern galleries; the skylights both orientate and excite the visitor, but also turn them into uplifting spaces.

MAXXI is described as a building for the staging of art, and whilst provocative at many levels, this project shows a maturity and calmness that belies the complexities of its form and organization. The nature of the project means everything has to be over-specified – throughout the design process the architects had no idea what these series of rooms would be used to hang, so walls which will bear a ton of rusting steel might be graced by miniatures. In use, in addition to the innovative hanging, video projections bounce off the white curves, animating the spaces.

This is a mature piece of architecture, the distillation of years of experimentation, only a fraction of which ever got built. It is the quintessence of Zaha’s constant attempt to create a landscape, a series of cavernous spaces drawn with a free, roving line. The resulting piece, rather prescribing routes, gives the visitor a sense of exploration. It is perhaps her best work to date and shows she was right all along.

Quote from PIBA, Commenting on MAXXI, the judges said:

‘MAXXI is described as a building for the staging of art, and whilst provocative at many levels, this project shows a calmness that belies the complexities of its form and organization. The nature of the project means everything has to be over-specified – throughout the design process the architects had no idea what the series of rooms would be used to hang, so walls which will bear a ton of rusting steel might be graced by miniatures.

The museum, for all its structural pyrotechnics, is rationally organised as five main suites. The building is bravely day lit with a sinuous roof of controllable skylights, louvres and beams which orientate and excite the visitor and create uplifting spaces.

This is a mature piece of architecture, the distillation of years of experimentation, only a fraction of which ever got built. It is the quintessence of Zaha’s constant attempt to create a landscape as a series of cavernous spaces drawn with a free, roving line. The resulting piece, rather than prescribing routes, gives the visitor a sense of exploration. It is perhaps her best work to date.’

建筑师：扎哈哈迪德建筑师
客户：文化遗产活动部，MAXXI基金和基设运输部

承包商：Consortium MAXXI 2006, ITALIANACOSTRUZIONI 和 Società Appalti Costruzioni

结构工程师：SPC工作室，安东尼亨特设计集团联营公司及OK 设计室

机电工程师：Max Fordham and Partners and OK 设计室

合约价值：€1.5亿
日期职业：2009年11月
内部总面积：21,200平方米

Weekly Highlight: Chinese Female Artist @ MOMA - Lin Tian Miao 專題： 紐約現代藝術館的中國女畫家林天苗

Focus - Lin Tian Miao Print Exhibition, 2008   聚焦－ 林天苗版画作品展

Weekly Highlight: Chinese Female Artist @ MOMA - Lin Tian Miao 專題： 紐約現代藝術館的中國女畫家林天苗
 
I visited HK Art Show this year, there are a lot of creative and interesting arts work, and this one art piece above caught my attention which composted by varies sizes of white balls with strings all around placing on a large white background canvas.  The artist is Lin Tian Miao, one of the most well known and the most influential Chinese contemporary female artist in the world.   Lin's arts in installation art, conceptual photography and other creations have shown a strong personal style and femininity.  She specializes in personal life experience with the delicate material sensitive to the unique combination of sentiment, the work shown by pure relaxation and ease and impressive.

This art piece was shown in Lin's first solo print exhibition on April 2008 at Beijing, which continuethe style of her previous works, creative understanding of himself into printmaking, the subversion of the traditional print concepts.
Prints in this exhibition is Lin Miao-day prints the field with the world renowned Singapore Tyler Print Institute (Singapore Tyler Print Institute) in collaboration. There, she and prints from around the world-class experts and paper masters production of close exchanges and cooperation, which took two months to make the final completed two series of works: "Focus" (Focus), and "see video" (Seeing Shadow). Lin Miao had broken the conventional print processes, starting from the paper, the integration of a variety of plate bold way to break the copper plate, silk screen prints, such as different types of boundaries, the process is full of chance, alone can not be replicated in series of paintings. Two series of works are to enlarge the image as the background of fuzzy, by wire, wire, foam and other materials on the screen of different reconstruction, material and image formation of a subtle dialogue between their own sense of its being changed. "Focus" (Focus) is a magnified picture as the background characters, fuzzy amplification, loss of focus, material processing, and reproduce the process of focal length, said overlap between the cultural metaphor. "See video" (Seeing Shadow) select some have been demolished, or are destroyed, the background of traditional architecture, delicate, sensitive emotions into images and a rich fantasy material texture, culture away, space-time dynamic image change in the paper solidification surface.

Printmaking as a new attempt Lin Tianmiao art media, no doubt broaden her artistic language, rich expression of her, and her work also gives new possibilities for prints.  New York Museum of Modern Art (MOMA) surprised at the forest-dau seedlings given the angry and personal prints, the collection of its four print works, and in the 'diversity - 1970 Since: Contemporary art direction" (Multiplex: 1970 Until Now, Direction fo the Modern Art) exhibtion.

Lin Tianmiao @ MOMA

New York Museum of Modern Art (MOMA) surprised at the forest-day seedlings given the angry and personal prints, the collection of its four print works, and in the "diversity -1970 Since: Contemporary art direction" (Multiplex: 1970 Until Now, Direction of the Modern Art) exhibition.

Before working as an artist, TianMiao is a textile designer, and she often use thread and string on her works on paper.  With Focus IC, TianMiao projected a distorted photograph onto a sheet of wet paper, then she enbedded the thread and nose onto her nose and mouth area.  Once the paper was dry, she actually printed the image.

Focus I C

2006. Lithograph and screenprint with thread additions, Sheet: 50 x 39 3/4" (127 x 101 cm). Publisher: unpublished. Printer: Singapore Tyler Print Institute. Editon: unique. Fund for the Twenty-First Century. © 2010 Lin Tianmiao

Lin TianMiao talked about her work Focus 1C:
"This is a photograph is from a young girl face.  
From my experience if the image is clear, you might stand there for few minutes, then you left.  If you loose the focus, maybe you will stand there for longer time to try to understand what's happen, what is that and why they lost the focus


This girl can be anyone, can be my daughter, your daughter.  When I was very young, Mao's portrait was everywhere, and we have social security picture, your picture must showed where you from, where are you, what position you have.  I want the audience to loose the focus, for audience to use imagination

I think this one is quite special, because why that peaceful girl, why that she has a lot of things in her mouth, this is the question: why

I use arts to explain my heart and explain my mind, this is my job."

Focus III B

2006. Lithograph and screenprint with embossing, composition (irreg.) and sheet: 50 x 39 3/4" (127 x 101 cm). Printer: Singapore Tyler Print Institute Singapore. Publisher: unpublished. Edition: unique. Fund for the Twenty-First Century. © 2010 Lin Tianmiao 

Focus XV A

2006. Lithograph and screenprint with embossing, Sheet: 50 x 39 3/4" (127 x 101 cm). Fund for the Twenty-First Century. © 2010 Lin Tianmiao

Seeing Shadows VIII A

2006. Lithograph and screenprint with thread additions on four sheets, sheet (.a, irreg.): 43 1/4 x 30 9/16" (109.8 x 77.6 cm); sheet (.b, irreg.): 43 11/16 x 29 1/2" (111 x 75 cm);sheet (.c, irreg.): 42 5/8 x 29 1/2" (108.3 x 75 cm); sheet (.d, irreg.): 43 1/4 x 29 3/4" (109.8 x 75.5 cm); overall (approx.): 43 1/8 x 119" (109.5 x 302.3 cm). Fund for the Twenty-First Century. © 2010 Lin Tianmiao

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Lin Tian Miao's Biography
 Present
Lives in Beijing, China

1989  Graduated from Art Student League, New York, NY

1984  Graduated from Fine Art Department, Capital Normal University, China

1961  Born in Taiyuan Shanxi Province, China

SOLO EXHIBITIONS

2008
Focus. Mary Ryan Gallery, New York, NY
Lin Tianmiao. Long March Space, Beijing, China

2007
Focus: on Paper. Singapore Tyler Print Institute, Singapore

2004
Non Zero. Beijing Tokyo Art Projects, Beijing, China

2002
Focus. The Courtyard Gallery, Beijing, China

1997
Bound-Unbound 1995-1997. Central Academy of Fine Arts Gallery, Beijing, China

1995
Open Studio. Baofang Hutong 12#, Beijing, China

GROUP EXHIBITIONS

2009
Pulp Stories I. Singapore Tyler Print Institute, Singapore

2008
Mahjong: Contemporary Chinese Art from the Sigg Collection. Berkeley Museum of Art, University of California, Berkeley, CA
Multiplex: Directions in Art, 1970 to Now. The Museum of Modern Art, New York, NY

2007
Global Feminisms. Brooklyn Museum, Brooklyn, NY

2006
Asian Contemporary Art In Print in Celebration of Asia Society's 50th Anniversary 2006. Asia Society and Museum, New York, NY
Asian Contemporary Art In Print. The Gallery of Singapore Tyler Print Institute (STPI)
Martell Artist of the Year 2006. National Gallery of China, Beijing
Mahjong: Contemporary Chinese Art from the Sigg Collection. Kunsthalle Hamburg, Germany

 2005
Rapt: Austral-Asia Zero Five. Sherman Galleries, Sydney, Australia
About Beauty. Haus der Kulturen der Welt, Berlin, Germany
ShangHai Cool—Creative Reproduction. Shanghai Duolun Museum of Modern Art, Shanghai, China
The New Works of Wang, Gong Xin & Lin Tianmiao. Courtyard Gallery Annex, Beijing, China
Mahjong: Contemporary Chinese Art from the Sigg Collection Kunstmuseum Bern, Switzerland
Xiangfeng! Chinese avant-garde sculpture. Museum Beelden aan Zee, The Hague, Netherlands
Fairy Tales Forever. ARoS Aarhus Art Museum, Denmark

2004
Between Past and Future. ICP and Museum of Asia Society, New York, NY; Museum of Modern Art, Chicago, IL
Concrete Horizons. Adam Art Gallery, Victoria University of Wellington, New Zealand
Officina Asia. Gallery d'Arte Moderna, Bologna, Italy

2003
Echigo-Tsunami Art Triennial. Tokyo, Japan
Arles Photograph Art Festival. Arles, France
New Zone Chinese Art. Zacheta National Art Gallery, Warsaw, Poland

2002
2nd Fukouka Asian Art Trienniale 2002. Fukouka Asian Art Museum, Fukouka City, Japan
Gwangju Biennial 2002. Gwangiu, Korea
Shanghai Biennial 2002. Shanghai Art Museum, Shanghai, China
Guangzhou Triennial 2002. Art Museum, Guangzhou, China
Paris-Pekin. Espace Cardin, Paris, France

2001
Shout on the Face. Earl Lu Gallery Lasalle – Sia College of the Arts, Singapore
The New-Media Art Festival: Non-Linear Narrative. The Gallery of National Academy of Art, Hangzhou, China
Threads of Vision: Toward a New Feminine Poetics. Cleveland Center for Contemporary Art, OH
Floating Chimeras. Edsvik Konst Och Kultur, Solletuna, Sweden
Translated Acts. Haus der Kuluren der Welt, Berlin, Germany and Queens Museum of Art, NY
Wang GongXin & Lin Tianmiao's New Works. Loft New Media Art Space, Beijing, China
The Digital Art Festival 2001. Loft New Media Art Space, Beijing, China

2000
At the New Century 1979-1999. Chengdu Museum of Contemporary Art, Chengdu,China
Inside/Out New Chinese Art. National Gallery of Australia, Parkes, Canberra, Australia
Home? Contemporary Art Project. Shanghai, China
Inside/Out New Chinese Art. Hong Kong Museum of Contemporary Art, Hong Kong, China
Bed/Chair. Xuxian Art Center, Taipei, Taiwan

1999
Revolutionary Capitals: Beijing in London. Institute of Contemporary Art, London, England
The Second Yearlong Contemporary Sculpture Exhibition. He Xiang Ning Art Museum, Shenzhen, China
Inside/Out New Chinese Art. Museum of Modern Art, San Francisco, CA
Magnetic Writing/ Marching Ideas, Works on Paper. It Park Gallery, Taipei, Taiwan
Cologne/Beijing/Beijing/Cologne: Exchange Exhibition. Gothaer Kunstforum, Cologne, Germany
Inside/Out New Chinese Art. Mexico Museum of Contemporary Art, Mexico City, Mexico
Food for Thought: An Insight in Chinese Contemporary Art. Mu Art Foundation, Netherlands

1998

Mark of Existence: Art Workshop in Process. Beijing, China
Woman – Century. National Gallery of China, Beijing, China
Life: Contemporary Chinese Art. Wan Fung Art Gallery, Beijing, China
Neo Lagoon: Contemporary Art of North East Asia. Niigata Prefecture Museum, Japan
Inside/Out: New Chinese Art. Asia Society, P.S.1 Contemporary Art Center, New York, NY

1997
Crack in the Continent. Watari Museum of Contemporary Art, Tokyo, Japan
Fifth International Istanbul Biennial. Istanbul, Turkey
Between Ego and Society. Artemisia Gallery, Chicago, IL
Another Long March. Chasse Kazerme, Breda, Netherlands
Against the Tide. Bronx Museum of the Arts, Bronx, NY
Demonstration of Video Art 1997. Gallery of Central Academy of Fine Arts, Beijing, China

1995
File No.1 – Conceptual Documents for Impossible Art. Soho Biennial, New York, NY
Women Approach to Contemporary Art. Beijing Art Museum, Beijing, China
Chinese Women's Artists Invitation Show. National Gallery of China, Beijing, China

1993
Group Show. Ground Gallery, Los Angeles, CA

1988
Group Show. City Gallery, Courtland, NY

1985
Beijing Youth Painting Exhibition. National Gallery of China, Beijing, China
Youth Artist Association Show. National Gallery of China, Beijing, China

 1984
Beijing Youth Painting Exhibition. Liulichang, Beijing, China


MUSEUM AND PUBLIC COLLECTIONS

Brooklyn Museum of Art, New York, NY
Museum of Modern Art, New York, NY
Singapore Art Museum, Singapore


LITERATURE

Fibicher, B. and Frehner, M., Eds. Mahjong: Contemporary Chinese Art from the Sigg Collection. Germany: Hatje Cantz, 2005.

Grosenick, Uta and Caspar Schübbe. Ed. China Art Book. Cologne: Dumont Buchverlag, 2007.

Hanru, Hou. Somewhere Between Utopia and Chaos: Contemporary Chinese Art Today. Netherlands, 1997.

He Hao. Ed. Non Zero. China: Timezone 8, 2004.

Martinez, Rosa. Cream—Contemporary Art in Culture. London: Phaidon Press, 1998.

 Qian, Zhijian. Gathering Wind. 1997 Exhibition of Chinese Contemporary Art. Tokyo: Watari Museum, 1997. p.175.

Smith, Karen. Towards the Millennium: From Land's End to the Peripheral Verge. Exhibition of Chinese Contemporary Art. Tokyo: Watari Museum, 1997.

Wang Gongxin and Lin Tianmiao. Here? Or There? China: Timezone 8, 2005.

Xianfeng! Chinese avant-garde sculpture. Netherlands: Museum Beelden aan Zee, 2005.

PRESS

2008
"Women, Where Art Thou.?" Deccan Herald, September 14, 2008.

Cotter, Holland. "China's Female Artists Quietly Emerge." "Beijing's Less Visible Artists." New York Times, July 30, 2008.

London, Barbara. "Accelerated Vision: Chinese Video's Leap Forward." Modern Painters, March, 2008.

1999
Chiu, Melissa. "Thread Concrete and Women's Installation art in China." Art Asia Pacific, 1999.

1998
Dal Lago, Francesca. "Against the Tide, Art." Asia Pacific, January, 1998.

1997
Martinez, Rosa. "Istanbul Biennial: Curatorial Interpretations." Flash Art, November-December, 1997.

Smith, Karen. "Lin Tianmiao at the Central Academy of Fine Art." Sculpture News, Winter, 1997.

1996
Hanru, Hou. "Metropolitan Individuals." Flash Art, November-December, 1996.

1995
Smith, Karen. "Lin Tianmiao." Asia – Pacific Sculpture, Spring, 1995.

"In Peking wird eine menge riskiert." Aktionen die Obrigkeit, August,1995

林天苗1961生于山西省太原市
1984毕业于首都师范大学美术系，北京
1989纽约艺术家联盟学院
现为自由艺术家
个展：
1997 缠3 - 再剪开
中央美院画廊，北京
群展：
2001 破坏的形象
克里夫兰当代艺术中心，俄亥俄洲，美国
漂浮的妄想
艾德厄克文化中心，斯德哥尔摩，瑞典
转换的形态
世界文化宫，柏林，德国；皇后美术馆，纽约，美国
数码艺术节2001
藏酷新媒体艺术空间，北京
2000 世纪之门
成都美术馆，成都，四川
家
月星家居广场，上海
1999 北京与伦敦
ICA当代艺术中心，伦敦，英国
第二届当代雕塑展
何香凝美术馆，深圳，广东
内与外 - 新中国艺术展
SFMOMA当代美术馆，旧金山，美国；墨西哥当代美术馆，墨西哥
精神食粮
Mu艺术基金会，荷兰
1997 龟裂的大陆 - 当代中国美术展
和多利当代美术馆，东京，日本
第五届伊斯坦布尔
伊斯坦布尔，土尔其
另一个长征 - 中国当代艺术展
不瑞达艺术中心，荷兰