The show offers a focused survey of major works from the artist’s entire career, including Personage sculptures from the late 1940s, Cell installations from the 1990s, the fabric works from her final decade, and the monumental spider sculpture Maman.
What is expressed in post-modern art and what the viewers feel has the same value. Doug Atiken is good at using his work to describe a poetic transformation. In the exhibition at FAURSCHOU FOUNDATION, Doug Atiken is also describing the meaning of the transformation.
As a woman, she picks up art weapons, attacks unbalanced gender relationships and continues to question the fate of the female. As a person chasing freedom, she was reluctantly reborn with pain, from healing the wounds of life to releasing spiritual freedom, which remind us of what true vitality really is.
The exhibition is presented with two clues: documentary and works for discussion on Zheng Jin’s oeuvre.
“PIONEERING: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949)” will remain on view till March 3.
As the first national sculpture scholarship in the history of modern Chinese sculpture, it has reached a junction in its ten-year journey.
There is no doubt that ink and wash is an important cultural resource for our participation in international dialogue today. Throughout the 40 years of reform and opening up, ink and wash art has never stopped exploring the epochal trends.