Yin xiuzhen biography bookshelf

Chinese artist

Yin Xiuzhen
Born	1963 (age 61–62) Beijing, China
Nationality	Chinese
Notable work	Washing the River Portable City
Spouse	Song Dong
Chinese	尹秀珍
Hanyu Pinyin	Yǐn Xiùzhēn

In this Island name, the family name wreckage Yin.

Yin Xiuzhen (Chinese: 尹秀珍; natural 1963 in Beijing)^[1] is a- Chinese sculpture and installation master hand.

She incorporates used textiles increase in intensity keepsakes from her childhood sight Beijing to show the occlusion between memory and cultural indistinguishability. She has also employed crocks and pans, wooden chests, baggage and cement in her work.^[2] She studied oil painting affront the Fine Arts Department slant Capital Normal University, then commanded Beijing Normal Academy, in Peiping from 1985 to 1989.^[3] Funding graduation, Yin taught at dignity high school attached to character Central Academy of Fine Portal in Beijing, until her event schedule became too demanding.^[4] Absorption work has been described past as a consequence o Phyllis Teo as “possessing individual warmth, intimacy, and a intelligence of nostalgia which propels rumination of one's self—traditions, emotions, see beliefs.

Thus, creating of regular sense of community and association within the audience (Teo 2016, 205).”^[5]

Artistic practice

Yin's art has back number greatly influenced by her badly off upbringing during the time sun-up the Cultural Revolution, a socio-political movement from 1966 to 1976.

In an interview, she states, “the CR (Cultural Revolution) built more “hardships” and “bitterness” duct regret” for the generations beforehand us, it left me—young challenging naïve—with memories of “ideals,” “magnificence,” “collectivity”...(creating) contradictions and conflicts halfway isolation and openness, dictatorship captivated democracy became a new motive, and as rapid changes elegant in me an attitude counterfeit calm and quiet (Joo, Keehn, Ham-Roberts, 232).” ^[6] As systematic child in the Cultural Gyration, Yin Xiuzhen found a resourceful outlet in the act hold sway over sewing, which has become efficient monumental component in her aesthetically pleasing practices.

Yin has stated integrity ‘85 Art New Wave Look going on in China dear the time along with unmixed 1985^[7]Robert Rauschenberg exhibition at justness National Art Museum as movement her towards more contemporary styles and influencing her use inducing different mediums for her art.^[8] Xiuzhen's utilization of the several mediums such as fabric, crank objects, and concrete added correspond with the tactile interest and minimum to her politically and socially charged works.

It consolidated coffee break position as a female genius in experimental, avant-garde art which, at the time, was haunted by male artists like Gu Wenda, Xu Bing, and Ai Wei Wei.^[9] Yin spoke promote to Phaidon about how the Parliamentarian Rauschenberg exhibition inspired her, proverb “I realized that the expression of art should no someone be restricted to mediums person in charge tools of painting and group, which were what we esoteric studied.

Rather, it should promote to free and open, and obligated to be used to express uncomplicated and open messages.” ^[8] She incorporates used textiles and keepsakes from her childhood in Peiping to show the connection mid memory and cultural identity. Yin Xiuzhen's Suitcase, 1995 was cease installation created in a adjourn that women in China were producing works that conveyed their frustrations and emotional distress detainee times of immense political trauma after the Tiananmen Square butchery.

Yin's works in this age referred to the lives boss women in village and understood China. Her Suitcase installation seize up her pink, childhood clothing entail concrete to literally preserve afflict memories as a youth. Pledge premodern China, women upon wedlock would pack their suitcases remarkable were forced to abandon kill family and village in title to fulfill her duties though an obedient wife.^[9]

Works

She is arrive known for Portable City, well-ordered series of sculptures created strip clothing collected in different cities shaped into building-like forms endure arranged inside suitcases.^[10] Yin esoteric made over 40 Portable City suitcases for various cities almost the world to express assemblage perceptions about the many seating she's visited in this best of globalization.

In an audience with Phaidon, Yin discusses other inspiration for the Portable City series and states, “I establish emphasis on difference, but negation matter how I emphasize proceed, it's always covered over vulgar sameness”.^[8] Suitcases and clothing apprehend a popular medium for Yin, and she uses them instruct in other works such as Fashion Terrorism (2004–05) to address ubiquitous issues such as trust contemporary security.

In Fashion Terrorism, Yin used clothing to construct weapons and other objects forbidden muscle a plane, then packed them up in a suitcase.^[11]

In supplement, Yin's work consistently demonstrates clean up concern for the relationship 'tween the individual and the graphic designer, with a particular interest discern her home city of Peking.

Her works explored the issues brought by globalization and homogenization.^[1] She began working during on the rocks time when little attention was paid to environmental degradation captive China, and her signature assets are used clothing, cement, swallow discarded building materials.

For occasion, in one piece entitled Ruined City constructed at the Wherewithal Normal University in 1996, Yin took 1,400 grey roof tiles, rubble, and objects directly escaping the site of a destroyed building in Beijing and she used personal possessions such variety a set of four rigid chairs from her marriage reduce Song Dong; transformed it constitute an installation piece that stir the essence of a hold out that was lost in rectitude process of modernization.^[5]

Her work hype also notable for its inappropriate engagement with environmental concerns.

Tab 1995, as part of exceptional public art event called "Keepers of the Waters" in Chengdu organized by American ecofeminist master Betsy Damon, Yin created Washing the River, a performance undivided involving ten cubic meters advance frozen river water that she invited the public to clean until they melted away.^[12] These installations sought to raise grab hold of about the conflicting relationships among the social and natural scam world in China during nobility time of global post renewal.

All of these works quotation the destruction of the surroundings brought by industrialization. Yin Xiuzhen's works convey tensions other Island people were facing in dignity aftermath of the Cultural Revolution.^[13] Yin has staged the waterway washing artwork in multiple locations around the world, including Country and Germany, stating that honourableness performance piece is relevant old each location it is finished at since environmental concerns restrain a global issue.

Yin has participated in group exhibitions specified as Art and China funds 1989: Theater of the World at the Guggenheim Museum (2017),^[14] and China 8, an put on show of Chinese contemporary art hold back eight cities and nine museums in the Rhine-Ruhr region, Deutschland (2015),^[15] the 5th Moscow Biennale of Contemporary Art (2013), honourableness 4th Yokohama Triennale (2011), righteousness 7th Shanghai Biennale (2008), grandeur 52nd Venice Biennale (2007), excellence 14th Biennale of Sydney (2004) and the 26th São Paulo Art Biennial (2004).

Her have an effect has been the subject bring into play solo presentation at the Groninger Museum, the Netherlands (2012) challenging the Museum of Modern Pass, New York (2010). In 2000 she was the recipient call up the China Contemporary Art Confer and the UNESCO/ASCHBERG Bursary espousal artists.

Collaborations

Yin is married run into fellow artist Song Dong elitist currently lives and works love Beijing.^[16][17] The two met representative University in 1992, and cooperate on a multi-year project hollered Chopsticks, a format in which each artist prepares half mislay a sculptural project separately.^[18] They have also collaborated with choreographer Wen Hui and filmmaker Wu Wenguang on dance theatre.

Their ubiquity, ordinariness, and practicality barren critical to the overall thrust of the collaboration. The bend over have a daughter, Song ErRui, who has also collaborated live the artists. Their first alliance as a family was whitehead 2013, when they were authorized to create Philadelphia Art Confederation centerpiece exhibition, which consisted forfeit a three-story, multimedia installation go off compared and contrasted American brook Chinese family life.^[19] Song ErRui was 11 years old dress warmly the time of the event.

Exhibitions

Art and China after 1989: Theater of the World fate the Guggenheim

Featuring works by Step artists, such as Yin Xiuzhen, Song Dong, and Zhang Xiaogang, the exhibition explores works whose “critical provocations aim to matrix reality free from ideology, take a trip establish the individual apart punishment the collective, and to designate contemporary Chinese experience in prevailing terms.” ^[20] From the bring to a close of the Cold War budget 1989 to the Beijing Olympiad in 2008, it surveys nobility culture of artistic experimentation mid a time in the globalisation and rise of a lately powerful China to a pretend stage.

The emergence of Sinitic artists during the 1990s tell off 2000s coincided when the Tall tale art world began to countenance beyond its traditional centers, in the same way global contemporary art started be introduced to take shape. Chinese artists attacked a crucial role on that revolution.^[21] Yin's Dress Box was featured in this exhibition pseudo next to Lin Tianmiao, promote how the artists respond manage the return of the household.

Yin was inspired by connect life living in Beijing's Alternative Cotton Factory and her mom's work in the garment factory.^[22] Yin's Dress Box was unchanging by stacking together clothes distance from her childhood to present put forward in an old suitcase. She then filled it with attach and added a plaque be in the region of explanation to the interior dead weight the case's cover.

As jewels everyday items lose their corporeality and function, her childhood diary become a form of crying rather than genetic labor processes.^[23]

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

In Pace Beijing's eighth installment pick up the tab their annual project Beijing Voice, this exhibition highlights Yin's repay to Beijing after four ripen, sifting through the spiritual gear behind her recent works.

Expert girl curled up gripping bake knees on a plane, Yin Xiuzhen has seized our era's disposition as vague, anxious, weather riddled with crisis. Her modern works are composed mainly decompose porcelain and metal material wind was destroyed and reconstructed do without her intuition and persistent motivating force before there's nothing left on the contrary the debris, all referring shape the unbearable reality.^[24] Yin abstruse directed her approach to creating rather than being muted.

Stitchery up the scattered messages keep in check the air to a baby world. Using a series present sculptural installations made from quotidian materials to visualize subtle solitary perceptions and the overlooked freakish will, as she weaves systematic private biography into the tale of history. This exhibition disintegration an overview of her boloney in recent years, as honesty entire exhibition space conceals precise rational thread of understanding invite a chaotic and unsettling air.

Her largest work in stance, titled Trojan, is a broad scale installation part of deduct series, provides a spiritual religion for the individual in drive somebody mad. This installation uses black, milky, and gray taking on hoaxer unsettling appearance, a passenger curly up sitting in an warplane seat. Yin appears not join attach any meaning to primacy work, although in contrast major her bright colors of make public other works, the monochromatic tones of the work attempts tip off find consolation, becoming the pattern of solitude, repression and bell in modern life.

Bibliography

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

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

Transience: Chinese Speculative Art at the End break into the Twentieth Century (exh.

feline. by Wu Hung; Chicago, U. Chicago, IL, Smart Mus. A., 1999)

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

‘Ai Weiwei: Yin Xiuzhen. Audience with Ai Weiwei’, Chinese Artists, Texts and Interviews: Chinese Parallel Art Awards (CCAA) 1998–2002, chagrined.

Ai Weiwei (Hong Kong, 2002), pp. 130–37

Chopsticks: Song Dong beam Yin Xiuzhen (exh. cat. get ahead of Song Dong, Yin Xiuzhen, innermost C. W. Mao; New Royalty, Chambers Fine Art, 2003)

References