Miao Xiaochun was born in Wuxi, Jiangsu Province. In 1989, Xiaochun graduated from the Central Academy of Fine Arts in Beijing (CAFA), where he currently teaches. He works in a variety of media ranging from photography to digital art.
Since 2005, he has been predominantly working with 3D animation, often referencing art history combined with topics such as past and present, East and West, humans and machines, and more. Xiaochun considers the contrast between what we see as ancient and modern in relation to the length of the history of humanity.
His work seeks to build a bridge between East and West and between past and present, using animation to create an alternate vision.
Lida Abdul, Afghanistan
Said Atabekov, Kazakhstan
Mohamed Bourouissa, Algeria
Chen Chieh-Jen, Taiwan
Cao Fei, China
Yang Fudong, China
Cyprien Gaillard, France
Dejan Kaludjerović, Yugoslavia
Mari Kim, South Korea
Kamin Lertchaiprasert, Thailand
Taus Makhacheva, Russia
Almagul Menlibayeva, Kazakhstan
Mariko Mori, Japan
Ahmet Ögüt, Turkey
Adrian Paci, Italy
Public Delivery, South Korea
Wang Qingsong, China
Walid Raad, Lebanon
Cheng Ran, China & Item Idem, France
Taps & Moses, Germany
Guido van der Werve, Netherlands
Erwin Wurm, Austria
Miao Xiaochun, China
Exhibited: Restart, 2008-2010
The animation was realized between 2008 and 2010. Miao Xiaochun constructs a conceptual world to create a tension between what is real and what is fabricated.
The artist intends to create a parallel fantasy to the chaotic world of today. He combines religion with science fiction to create a futuristic vision of a world gone wrong and show aspects of the clash of the civilizations.
Thematically, “RESTART” begins with Pieter Bruegel’s “The Triumph of Death”, that macabre painting from the Prado that teems with figures and swarms conveying death as individual skeletons, groups of skeletons, or entire hordes being delivered from life unto death.
The scenario used in the animation of the 3-D reconstruction is rounded out by further pictures from Bruegel: the “Fall of Rebel Angels” and “Mad Meg”, heading off to hell, as well as the “Seven Deadly Sins”, which have survived only as engravings.
The use of Raphael’s frescoes “Parnassus” and “The School of Athens” are clearly recognizable, while those less so are the allusions to paintings from Botticelli, Signorelli, El Greco, as well as key images from the 19th century such as Goya’s “The Third of May 1808″ and finally – with reproductive, plastic clarity – Courbet’s “A Burial at Ornans” and Géricault’s “The Raft of the Medusa”.
Several landscapes from Caspar David Friedrich are also made reference to. The canon of European classical art history is supplemented by the icons of progress of China’s cutting-edge technological and urban modernization.
In toto, it is a mighty undertaking and it is amazing how effortlessly the most varied objects of artistic, architectural, and design reference are combined in the almost 14-minute 3-D animation. (U.Panhans-Bühler)