currently on show in beijing at UCCA (ullens center for contemporary art)
until june 8.
the exhibition is being designed by the chinese-born, paris-based artist huang as a metaphorical
– and sometimes literal – journey through the ‘belly of the beast’.
until june 8.
the exhibition is being designed by the chinese-born, paris-based artist huang as a metaphorical
– and sometimes literal – journey through the ‘belly of the beast’.
‘the nightmare of george V’,
life-size sculpture at the entrance of the exhibition, an elephant mounted by a tiger
– a commentary on hunting safaris of bygone colonial days
life-size sculpture at the entrance of the exhibition, an elephant mounted by a tiger
– a commentary on hunting safaris of bygone colonial days
‘bat project’
the artist’s concept drawing for bat project IV, incorporating the cockpit, bamboo scaffolding,
plastic construction fence, and taxidermic bats
the artist’s concept drawing for bat project IV, incorporating the cockpit, bamboo scaffolding,
plastic construction fence, and taxidermic bats
‘bat project IV’
the fighter plane piece was inspired by a specific event: the collision of an US surveillance
aircraft with a chinese military jet over the south china sea in 2001.
despite the intense political tension that resulted, china permitted the spy plane to be
disassembled and shipped back. image by kevin kennefick/ nytimes
the fighter plane piece was inspired by a specific event: the collision of an US surveillance
aircraft with a chinese military jet over the south china sea in 2001.
despite the intense political tension that resulted, china permitted the spy plane to be
disassembled and shipped back. image by kevin kennefick/ nytimes
‘bank of sand, sand of bank’consists in a model, molded from 20 tons of compacted sand and concrete, of a european-style domed building,
measuring 6 meters (19 feet and 8 1/4 inches) long, 4.3 meters (14 feet and 1 1/4 inches) wide, and 3.5 (11 feet and 5 3/4 inches) meters high.
wished to transcend the naïvete of anti-colonialism
through the slow disintegration of a mold of sand and concrete during the exhibition’s run.
measuring 6 meters (19 feet and 8 1/4 inches) long, 4.3 meters (14 feet and 1 1/4 inches) wide, and 3.5 (11 feet and 5 3/4 inches) meters high.
wished to transcend the naïvete of anti-colonialism
through the slow disintegration of a mold of sand and concrete during the exhibition’s run.
huang yong ping’s retrospective ‘house of oracles’ originated at minnesota’s walker art center, by chief curator philippe vergne with assistant curator doryun chong.
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