Wang Luyan (7 results)

Condition: Buone. inglese Condizioni dell'esterno: Discrete con difetti, macchie Condizioni dell'interno: Buone.

Cartoné Editorial. Condition: Muy bueno. 215 pp. Sumamente ilustrado. Texto en Inglés y Chino. 29 x 25 cm. Wang Luyan (illustrator).

Buch. Condition: Neu. Zhang Wei/Wang Luyan | Ein Gespräch von Jia Wei/A Conversation, Dt/engl | Zhang/Luyan, Wang/Wei, Jia Wei | Buch | 104 S. | Deutsch | 2019 | Holzwarth Publications GmbH | EAN 9783947127108 | Verantwortliche Person für die EU: Holzwarth Publications GmbH, Ursula Stricker, Motzstr. 30, 10777 Berlin, vertrieb[at]holzwarth-publications[dot]de | Anbieter: preigu. …

Paperback. Condition: Gut. 60 p. Cover slightly bumped, otherwise good and very clean. - Contents: Liu Ding: Wang Luyan: The Other Side of Totality -- To Hold a Homogeneous Worldview is Perilous: A Dialogue Between Liu Ding and Wang Luyan. - Introduction: JoyArt is a laboratory for communicating and advancing contemporary cultural developments by organizing and hosting high-quality contemporary art exhibitions and events, and inviting leading or cutting-edge young artists from China and abroad to present their latest or most important art projects. It also collaborates in a myriad of forms with international artists, curators, architects, designers and other institutions to launch thematic exhibitions, symposia, as well as interdisciplinary projects across the fields of visual arts, architecture, design, mass media and so on. JoyArt is a project-based initiative, with each project produced and supported by corporate or individual sponsorship. Thus we hope to explore an innovative model of operating and managing art institutions in China, and push the boundaries of artistic thinking and production - turning JoyArt into a new landmark for advancing the development of contemporary art and culture in China. Sprache: Deutsch Gewicht in Gramm: 250.…

Hardcover. Condition: New. In the reformulation of values in contemporary Chinese art, Wang Luyan?s concepts and methodologies differentiate his from those that have been most popular. They have become extensions of everyday life, social aesthetics, technical standards, through which he reflects on his own doubt and confusion. Since 1979, when Wang Luyan first became involved in art, he has been a key participant and witness in every period during the development of Chinese contemporary art. This monograph accompanies his first solo exhibition in Paris, in October 2011.…

P. Skira 2011. In-4° plein cartonnage blanc illustré à la Bradel, 239 pages. Entretien par Henri-françois DEBAILLEUX.

Gedruckt in 1500 Exemplaren. Text in Englisch und Chinesisch Sawing or being sawed - Wang Luyan's Solo Exhibition" which will show in OCAT's main exhibition hall is curated by Huang Du. We believe it will provide the art world with a brand-new experience of art and will have great conceptual impact. --- --- Wang Luyan's solo exhibition, Sawing or Being Sawed? has been in preparation for more than ten years. He is one of the most important participants and witnesses to the various developmental periods in Chinese contemporary art, and has participated in Star Group Exhibition (1979), New Measurement Group (1988 -1995, Wang Luyan, Gu Dexin, Chen Shaoping), Contemporary Chinese Art Exhibition (1989), Exit - Contemporary Chinese Art Exhibition (1991), Chinese Avant-garde Art Exhibition (1992), Silent Energy - Contemporary Chinese Art Exhibition (Oxford Modern Art Museum), and other important exhibitions. Wang Luyan's artistic concepts and his artistic expression have always been considered as "alternative" in the context of contemporary art history. Behind the backdrop of changing Chinese artistic values, Wang Luyan had established his own artistic concepts and methodology, which is in stark contrast with popular art theory and concepts. The most prominent characteristic in his conceptual art system is his ongoing search for art concepts that hold more universal meaning. From considering everyday life, social aesthetics, and technical standards he extends himself to dealing with questions of judgment and reflection on the human conundrum. In terms of artistic language, he uses graphics and design methods to remove traditional artistic elements, in order to establish his own individual artistic language. His art works reject the addition of narrative or sentimental elements, transforming elements of graphic design, advertisement and design into accurate artistic language. With precision and accuracy, he represents the experience of people absent-mindedly identifying and analyzing events in actual society. This can be noted in such works as, "Sawing or Being Sawed?", "Injector Series", "Give or Take?", "Bicycle Series" "Forward or Backward?" etc. Based on such design, he expands this two-dimensional language into an installation concept, which offers the viewer a kind of visual stimulation and emotional impact. The work of W Set Square 1-2 (400 x 800 cm, in two pieces, each weighing two tons) and Sawing or Being Sawed? (350 x 1000 x 280 cm, weighing 13 tons), are in fact plans he had sketched out 17 years ago. Due to these works, Wang was called a "programmatic artist". Today we see these programs being actualized, whereby this "programmatic artist" has transformed into an "installation artist". On site, the viewers will gain a physical sense of the materials used and the power of motion revealed in his artworks. It is precisely this indistinguishable mechanical guiding force that enhances the concepts being expressed. In W Set Square 1-2, with 8mm/cm, 12mm/cm and 10mm/cm, 10mm/cm being marked on both sides of each set respectively, it has brought forth the often ignored concept of "double standard". This can remind people to question and reflect on their standard world view. As we all know, in conflicts between various nations, this "double standard" still exists even today. --- --- This exhibition spans 28 years of artwork, and one could almost call it a retrospective exhibition. The exhibition consist of three sections: The first section contains planning sketches, which records Wang Luyan's path of development in his artistic concepts from 1988 until the present. The second section contains a collection of over twenty new paintings, which is an overall representation of Wang Luyan's independent experience accumulated over the past twenty years. The third section contains a selection of installations. It is a group of large scale artworks based on the interactive relationships between the artworks, the exhibition space and societ. …