Archive: China
This was intended to be Andy Warhol’s retirement from painting

This was intended to be Andy Warhol’s retirement from painting

Andy Warhol blowing up Silver Cloud Pillow, Los Angeles, 1966

Andy Warhol blowing up Silver Cloud Pillow, Los Angeles, 1966
Andy Warhol blowing up Silver Clouds, Los Angeles, 1966

Andy Warhol is no stranger to critical acclaim; his various works introduced thousands of audiences to contemporary art which helped to put American artists on the map, and it waged a war against abstract expressionism. Warhol effectively managed, time and time again, to shatter distinctions in art and he helped to reshape the aesthetic criteria that many people used to categorize art. In true fashion, Warhol inspired an artistic revolution of epic proportions that was felt not just in America, but in other parts of the world as well.

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Luckily these are not real tattoos

Luckily these are not real tattoos

Qiu Zhijie - Tattoo 2, 1994

Qiu Zhijie - Tattoo 2, 1994
Qiu Zhijie – Tattoo 2, 1994

Qiu Zhijie is well known for his capacity to add provoking new meanings to traditional Chinese calligraphy. In many of his works, Qiu incorporates calligraphy into modern media as a way of fusing important elements from his culture into his art. His Tattoo series that was released in 1994 explores the state of one’s independence and invisibility.

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Colorful madness in Shanghai

Colorful madness in Shanghai

Alan Delorme - Totem #9

Alan Delorme - Totem #4
Alan DelormeTotem #4

French artist Alan Delorme’s Totem series features images of towering stacks of objects that appear to teeter perilously like totem poles. His project name is ambiguous because it almost indicates that the project is about the dazzling heights of the Shanghai skyscrapers. owever, the entire project focuses on migrants attempting and struggling to ferry their towering wares and cargo across various parts of the megacity.

The migrants in the pictures that often go unnoticed by many are seen to transport unbelievable piles of goods on their bikes. Delorme utilized the precarious products that consist of cardboards, chairs, bales of clothes, and tires just to mention a few, to represent the new totems of society.

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Iconic video games on 490 meter high Hong Kong building

Iconic video games on 490 meter high Hong Kong building

Cao Fei - Same Old, Brand New, 2014, International Commerce Centre, Hong Kong
Cao FeiSame Old, Brand New (rendering), 2015, sound and large-scale led screens, 5min, size variable, Sound by Artist Dickson Dee, International Commerce Centre, Hong Kong, China

Same Old, Brand New is the labor of love of Chinese multimedia artist Cao Fei. It was a massive video installation that featured a multitude of different symbols, moving pictures and images as well as logos from well-liked video games such as Pac-Man and Tetris. At the time of the show, the images and symbols that were displayed had become integral elements of culture among the youth not only in Hong Kong but in other parts of the world as well.

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The Obscenity, Profanity and Heartache in Neon

The Obscenity, Profanity and Heartache in Neon

Tracey Emin at Museum of Contemporary Art North Miami, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Neon lights are commonly used to make attractive business signs and are mostly preferred for outdoor use especially at night. The colorful array of neon light options makes it a creative marketing tool since lights are used to illuminate an underlying text message or image. There is no limit to what medium an artist can use to express themselves and for Tracey Emin (b.1963), it has been over 26 years of using neon consistently as a creative medium. The process of creating an art piece for her often begins with coming up with a message, usually a thought or a feeling. This is then followed by bending light tubes to assume the curves and profile of what has been written. Many artists have used neon lights as a medium since the 1960s but while many preferred to use molded letters and neutral writing, Tracey Emin stands out because she has chosen to use her own handwriting. Art critics will admit that using one’s own handwriting is rather daring but also a way to stamp personality and individuality in all pieces created.

It is ironic how the artist uses simple every day phrases to provoke feelings and thoughts in the audience. By expressing her own emotions, thoughts, and aspirations, she connects to the soul of the observers. This is the role that art should play in people’s lives and finding the best medium to achieve it is the greatest hurdle for many. By incorporating poetry, mystery, color and light into an art piece, the artist immortalizes herself in the work she does.

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin at Museum of Contemporary Art North Miami, 2014
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014
Tracey Emin - Be Faithful to Your Dreams, 1998, blue neon on plexiglas, 40.5 x 223.5 x 7.5 cm
Tracey EminFaithful to Your Dreams, 1998, blue neon on plexiglas, 40.5 x 223.5 x 7.5 cm

Tracey Emin - For You, 2008, neon, 186 x 174 cmTracey EminFor You, 2008, neon, 186 x 174 cm

Tracey Emin - Her Soft Lips Touched Mine and Every Thing Became Hard, 2008, neon, 99.7 x 213.8 cm
Tracey EminHer Soft Lips Touched Mine and Every Thing Became Hard, 2008, neon, 99.7 x 213.8 cm

Tracey Emin - I Cried Because I Love You, 2015
Tracey EminI Cried Because I Love You, 2015

Tracey Emin - I Kiss You, 2004
Tracey EminI Kiss You, 2004

Tracey Emin - I Listen to The Ocean And All I Hear is You, 2011, Neon, 91 x 211 cm
Tracey EminI Listen to The Ocean And All I Hear is You, 2011, Neon, 91 x 211 cm

Tracey Emin - I Loved You More Than I Can Love, 2009, Neon, 76.2 × 191.7 cm
Tracey EminI Loved You More Than I Can Love, 2009, Neon, 76.2 × 191.7 cm

Tracey Emin - I promise to Love You, 2010, Neon, 145.8 x 143 cm
Tracey EminI promise to Love You, 2010, Neon, 145.8 x 143 cm

Tracey Emin - Is Legal Sex Anal?, 1998, pink neon, 34 x 148 cm
Tracey EminIs Legal Sex Anal?, 1998, pink neon, 34 x 148 cm

Tracey Emin - Meet me in Heaven I will wait For You, 2004, Blue neon, 32.5 x 164.1 cm
Tracey EminMeet me in Heaven I will wait For You, 2004, Blue neon, 32.5 x 164.1 cm

Tracey Emin - Meet Me In Heaven I Will Wait For You, 2016, 110 x 359 cm
Tracey EminMeet Me In Heaven I Will Wait For You, 2016, 110 x 359 cm

Tracey Emin - People Like You Need To Fuck People Like Me, 2007, Neon, 45 x 72.01 in
Tracey EminPeople Like You Need To Fuck People Like Me, 2007, Neon, 45 x 72.01 in

Tracey Emin - She Lay down Deep Beneath The Sea, 2012
Tracey EminShe Lay down Deep Beneath The Sea, 2012

Tracey Emin - The Kiss Was Beautiful, 2012, Neon 135 x 120 cm
Tracey EminThe Kiss Was Beautiful, 2012, Neon 135 x 120 cm

Tracey Emin - Trust Yourself, Museum of Contemporary Art North Miami, Miami, USA
Tracey EminTrust Yourself, Museum of Contemporary Art North Miami, Miami, USA, 2014

Tracey Emin - With You I Want To Live, 2008, neon, 76.2 x 99.1 x 5.7 cm
Tracey EminWith You I Want To Live, 2008, neon, 76.2 x 99.1 x 5.7 cm

Tracey Emin - You Loved Me Like A Distant Star, 2016
Tracey EminYou Loved Me Like A Distant Star, 2016

Tracey Emin - Your Lips Moved Across My Face, 2015
Tracey EminYour Lips Moved Across My Face, 2015

Tracey Emin - Your Name Try Cunt International, 2004
Tracey EminYour Name Try Cunt International, 2004

Tracey Emin - My Heart is With You Always, 2014, laser animation, The Peninsula, Hong Kong, China
Tracey EminMy Heart is With You Always, 2014, laser animation, The Peninsula, Hong Kong, China


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Prohibited photos from world’s most isolated country

Prohibited photos from world’s most isolated country

Michal Huniewicz - North Korea - Pyongyang
Michal HuniewiczOstensibly Ordinary: Pyongyang
Inhabitants of Pyongyang commuting.

A lot of attention was recently drawn to a series of photographs taken by London-based photographer Michal Huniewicz. These photographs are somewhat prohibited as they show the real side of North Korea. Tourists who want to visit North Korea are only allowed to do so through pre-arranged tours booked via travel agencies. When they arrive, there will be tour guides who will be with them at all times throughout their stay in the country. It is quite normal for tour guides to be assigned to tourists so as to ease their movements and make the tour a worthy experience but truthfully, the main job of tour guides in North Korea is to prevent tourists from interacting with locals, to prevent them from taking pictures and keep them away from areas where there is a high rate of poverty and unhappiness. Tourists are not allowed to take photos of soldiers and there are certain places where cameras are not allowed to be used.

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20 tons of incense ash to create 5m statue

20 tons of incense ash to create 5m statue

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 1
Zhang HuanSydney Buddha, left: Aluminium Buddha, 370x290x260cm, right: Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan, born in 1965, started out his career as a painter and then moved to performance art and then resorted back to painting. He is also a sculptor and photographer, but his main focus is being a performance artist. Throughout his career, he has made extensive use of ash, and even built a few sculptures with it. Zhang says that he considers ash to be symbolic as it represents the hopes and the prayers of those who usually burn the incense. To him, the ash sculptures represent collective blessing, memory, and soul of the Chinese people. The ash is collected from various temples in Shanghai, a time-consuming process that involves many hands.

When making such sculptures, the ash is compacted into the mold for a number of days, and then the aluminum sculpture is removed and reassembled facing the ash sculpture. Eventually, the ash sculpture will start trampling down after sometime, while the aluminum sculpture remains intact.

In 2015, Zhang created the Sydney Buddha, one headless metal statue, and another one made from over 20 tons of incense ash, crumbling gradually. It was named Sydney Buddha for purposes of its presentation in Australia. Initially, it was known as Taiwan Buddha. The Sydney Buddha is a meditation on the briefness of life and the various cycles that facilitate the renewal and destruction of life. This piece is made using two parts: the main sculpture made of aluminum and the incense-ash casting as the interior. These pieces are placed facing each other, and as time elapses, one of them depreciates. The Berlin Buddha is another monumental ash sculpture of Buddha, made from 6 tons of ash from burned incense. This ash has been poured into an aluminum mold that stands at 4 meters tall.

Zhang believes that each ash Buddha represents the prayers, thoughts, and hopes of mankind, which eventually collapse. This is the cycle of life and the taking action when there should be no action taken, upsets nature, in a way.

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia
Zhang HuanSydney Buddha, Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia
Zhang HuanSydney Buddha, Aluminium Buddha, 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia
Zhang HuanSydney Buddha, left: Aluminium Buddha, 370x290x260cm, right: Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 10
Zhang HuanSydney Buddha, Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 10c
Zhang HuanSydney Buddha, Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia, Photo Michael Young
Zhang HuanSydney Buddha, Aluminium Buddha, 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 7d
Zhang HuanSydney Buddha, Aluminium Buddha, 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Sydney Buddha, 2015, aluminum, 5m height, Carriageworks, Sydney, Australia 7b
Zhang HuanSydney Buddha, Aluminium Buddha (detail), 370x290x260cm, Carriageworks, Sydney, Australia, 2015

Zhang Huan - Berlin Buddha - Art Stage Singapore, 2013
Zhang HuanBerlin Buddha, Art Stage Singapore, Singapore, 2013

Zhang Huan - Berlin Buddha - Museum of Old and New Art, 2014
Zhang HuanBerlin Buddha, Museum of Old and New Art, Hobart, Tasmania, Australia, 2014

Zhang Huan - Berlin Buddha - Museum of Old and New Art, 2014 3
Zhang HuanBerlin Buddha, Museum of Old and New Art, Hobart, Tasmania, Australia, 2014

Zhang Huan - Berlin Buddha - Museum of Old and New Art, 2014 2
Zhang HuanBerlin Buddha, Museum of Old and New Art, Hobart, Tasmania, Australia, 2014

Zhang Huan - Berlin Buddha (Preparatory Drawing) 4, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 4, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing) 5, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 5, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing) 7, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 7, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing) 9, 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing) 9, 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing), 2007, ink on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing), 2007, ink on paper, 82.5 x 102cm

Zhang Huan - Berlin Buddha (Preparatory Drawing), 2007, ink and soya sauce on paper, 82.5 x 102cm
Zhang HuanBerlin Buddha (Preparatory Drawing), 2007, ink and soya sauce on paper, 82.5 x 102cm


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