Comprehensive catalogue of oil and ink paintings, silk prints, and installations by Gao Xiang (b. 1971, Kunming, China)
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Gao Xiang: Interrogating Dreams
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䬚᷒ÿÿ倄㔀㞦ᱛ҈৭ᆁ 倄㔀Ȟ㦃
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ͧ ߊ 喝⌱䓴ጮ᪳ ࡂ 㞦ᱛ͙ᓯ ࡻ ߊ 喝⌱䓴๓႒㒺ᱛ႒䮎喏⌱䓴ጮᥰᒝͷᅷ喏ࢍᮚe⯚ፁ➥᪅ᢴ もᆁ喝ፁ➥ͩe≇жeᔾe⤙ጠܳ ᐬᎁᬢ䬠喝 Ꭰ ᰴ ᬑ ᆁ㻴ᬢ䬠喝 Ꭰ ᰴ ᬑ㜟 ᰴ ᬑ ౬喝∜喏⌱䓴Ꮘ喏⌱䓴ጮ喏ᕉㄣ䓂ࡦ喏ፁࢆ ߟٷ 䌛喏⌱䓴ጮ᪳ ࡂ 㞦ᱛ͙ᓯ
ͧ ߊ 喝ࢍ➥⥟e㣝᪳⩧ もᆁ喝ࢍ➥⥟e㣝᪳ ᐬᎁᬢ䬠喝 Ꭰ ᰴ ᬑ ᆁ㻴ᬢ䬠喝 Ꭰ ᰴ ᬑ㜟 ᰴ ᬑ ౬喝㠝喏ђ᪒ XUSK喏ង➥㏟㶃 ण喏Ⴍ℀⩧
ͧ ߊ 喝పცᵥ㞦ᱛტ㖀Ⰻ⩧ 䊊 ߕ 喝పცᵥጊప ߌ ➥ጮโηϐ≭䘔 もᆁ喝Ⴕᓣ䛸䭫 e 䰹๗ᰨ ᐬᎁᬢ䬠喝 Ꭰ ᰴ ᬑ ᆁ㻴ᬢ䬠喝 Ꭰ ᰴ ᬑ㜟 ᰴ ᬑ ౬喝ᓣ喏పცᵥ 喏叒∩ᵨ倄⦋ ण喏పცᵥ㞦ᱛტ㖀Ⰻ⩧
Gao Xiang: Interrogating Dreams
Organizer: Chiang Mai City Arts and Cultural Centre Co-organizer: Faculty of Fine Arts of Chiang Mai University, Chiang Mai House of
Photography, Prof. Kanta Poonpipat Curator: Patricia Lois Nuss Bambace
Opening: 18:00, 31 March 2017 Duration: 31 March—1 May 2017 Venue: Chiang Mai City Arts and Cultural Centre, Prapokklao Road, Si Phum, Chiang Mai, Mueang Chiang Mai, Thailand
Organizer: Katrine Levin Galleries Curator: Katrine Levin Opening: 18:00, 31 October 2017 Duration: 30 October—4 November 2017 Venue: Coningsby Gallery, 30 Tottenham Street, London W1T 4RJ, United Kingdom Organizer: Kuenstlerbund Gallery, Tuebingen Sponsor: Institut fuer Auslandsbeziehungen, Stuttgart City of Tuebingen Curator: Andreas Hoffmann Opening: 11:00, 3 March 2018 Curation: 3 March—7 April 2018 Venue: Kuenstlerbund Gallery, Metzgergasse 5, 72070 Tuebingen, Germany
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C O N T E N T S
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ݹ 㼬喝䔣᷒ͷᗽ ÿÿ䄴倄㔀ͷ㞦ᱛ҈৭ Preface: Dream-Inducing Statements on Gao Xiang’s Work
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㐄⩧҈৭ Paintings
ᄥ⿷ͷস䄼 A Harmony of Contrasts
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㷱㒚҈৭ Installations
᷒⮰䓥㑄 The Boundaries of a Dream
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㏤̶҈৭ Works on Paper
᷒㔱倄㔀 Gao Xiang: The Dreamer
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䃰䃦᪳「̺䃫䄴 Selected Reviews and Interviews
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ガࢲ Biography
ݹ 㼬
䔣᷒ͷᗽ ÿÿ䄴倄㔀ͷ㞦ᱛ҈৭
倄㔀䔜 ڢ Ą᷒ą㈧݃ᬢ喏ᯃ䄠Ђ䔵᠕⮰䷄ᱼ喋侘喌᭛ 㜖ጝ□偮⮰Џ㶔Ƞ
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Preface
Dream-Inducing Statements on Gao Xiang’s Work
When Gao Xiang describes his series The Dreams , he alludes to his chosen subject (the horse) as a representation of his very soul.
said that Gao's art is naturally a reproach of the concept of anthropocentrism; however, I read his horse as a representation of inner demons and strengths . His horse has become a tool to explore his subconscious experiences and psychological world. I am most intrigued by this idea in his work, that of a creaturely catalyst of self-discovery.
Through this animal, he conducts an investigation of his personal world on canvas and paper, with ink and painting. This concept amalgamates with the physical world best in his installation, forcing the viewer to question how his or her own dream- like spirit animal might navigate his or her daily life. It’s been
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effort to analyze his works. For example, the color red symbolizes good fortune, black is neutral and related to the earth, white is associated with death and mourning, and blue has many meanings, but perhaps calm exploration fits well in his usage in the work. 2IFRXUVHZHFDQQRWGHSHQGRQWKHVHLQWHUSUHWDWLRQVWR¿OOLQWKH void of meaning for us, only the artist can do this...Or perhaps, his intent is to leave the work ambiguous, and encourage the viewer to explore his or her own meanings as they catch a glimpse into Gao Xiang’s mind.
a stimulus in his work. One of the first artworks we can source in history, created by mankind, actually included the image of a horse. Estimated to be at least 15,000 years old, the Lascaux Cave in southwest France is famous for its Paleolithic cave paintings of ODUJHDQLPDOV$PRQJWKHVH¿UVWDQLPDO¿JXUHGUDZLQJVZH¿QG WKDWHTXLQHVRXWZHLJKWKHRWKHU¿JXUHVZLWKRYHUUHSUHVHQWHG 6RPHRIWKHKRUVH¿JXUHVDUHDFWXDOO\GUDZQXSVLGHGRZQRQWKH cave wall, suspected to be the inspiration of the artist observing a naturally-occurring camera obscura from a hole in the hides of the cave covering. In the introduction to his work, we are told about the importance of the horse in ancient Chinese culture for socialization, travel, and work. These are common threads that link the animal’s purpose globally. Once a wild creature that migrated in packs, the mass domestication, or “breaking” of the horse to make the animal useful to its human counterparts can represent the taming RIKXPDQLQTXLVLWLRQVDVZHDWWHPSWWR¿QGRXUSODFHZLWKLQRXU societies. His installation works are particularly successful in the way they encourage the viewer to interact with this exact concept. Beyond an image on a wall, the installations encourage viewers to walk around the piece and consider how it relates both to them and its environment. Gao does not give us references to his own artistic inspirations, but I see a few possible sources. For example, much like Susan Rothenberg's work, Gao's horses become a repetitive mainstay of texture, shadow, and color. Like Deborah Butterfield's work, their sculptural entities are large and imposing, lording their importance over the human figures without yielding. His three dream-inducing pieces that feature big cats are also of interest. I see a correlation between his piece Feed the Tiger and Henri Rousseau’s The Sleeping Gypsy , I can only wonder if it is an intentional connection or something more derivative. Gao's color palate remains relatively consistent regardless of his chosen medium. Most deal in monochromatic tones, using only blue or red for emphasis. These colors must have significance for their use, but I’m left wondering exactly what that may be. In Chinese culture, we can read into symbolic color theory in an
Patricia Lois Nuss Bambace (United States of America) Curator, Chiang Mai City Arts and Cultural Centre Photographer | Educator | Artist M.F.A. , University of Central Florida February 2017
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ᄥ⿷ͷস䄼
ः ݜ 侘̺侽㵸㔱ͷ䬠⮰䗏⺊㖀㈧Ƞ侘̺Ϧͦᒨₐ⮰ᐢ Ѥ喏侘 ٱ ᑿβ̬ਦ㗞⮰ ߇ 䛻喏নᏀⱬϦ⮰ຩᓯ̺ᣎ㉎⺊Ƞ 㮩䕆䓳ガ㏒⮰㞦ᱛᒎᐻᓃБ㶔⣜喏侘ࢠ᭛ู̬ᱮ⮰ ߇ 䛻Ƞ Ⱔ䒯κᄻᄻϦᒎ喏䗏ࡥ侘᭪ᓃᘴࣽጔ๓喏ͦᑦ๓ ߇ 䛻̺⺊ ⼄⮰䆍ᒭȠ䔅 ߇ 䛻छᩢछᩪ喏छ䒧ᴀछ⟮ᯠ喏ᖜຮ̬౦□ 偮 ڱ ᓯ⮰ᄥ䄉Ƞ Ą᷒ą㈧͙݃喏侘̺㓐ᭋ͐㔱⮰⺊⼄ࣶ ڢ ⺊➥䉔⌣ऴ β̬䊣喏㔸ᵥᢚϺ͙ऐЏ๕᪳ప͙ᝬ㣣ᓃ⮰□ᙋ喏㓐ᭋ 㷗ᢾ݃䔣Ϧ⮰ᭋᏓȠ҈৭⮰㘩䛻፤፤䔩䮻ⱬᭋᏓ⮰ᢾ݃㔸 ᆁᐬȠ̬䕿⟢ຮ䬖⩡⮰ᭋ ٵ ҫ͐ࡥ侘̺ЂИ⮰侽 ٱ ␍β̬ ऽ ݹ ⮰ ߔ ߫喏㔸倄㔀䕆䓳̵͖䲅₎⮰పጓь䓪β䔅 䓼 ߔ ᙋȠऒ̬፱҈৭͙喏㻮䉻㔱छБᢁᡵ ݜ 㓐ᭋᢾ͙݃ ⮰㼒喏⩧͙⮰Ϧ➕ÿÿ܌ͺ⊚ ߔ ̬ ژ ➇ͷ̶ÿÿࣸ㛮 ϐऌκ㘽ऺ喏̹䃦᭛➇䔄᭛Ϧ䘩䮣 ڑ ⌝ᕉͷ͙Ƞ̬ఎᰠͦጔ ๓⮰ᭋᏓ̷䲎᭛̬ࡥ㷗ᑌ៵䪫β⮰侘ࡥ喏᪠͖⩧䲎䃕Ϧ ᙋ ݜ ຮसႳჅ̬㝘⮰ⅤᕾᬌᅩȠ䔅 ٱ ␍䄃ᘻ⮰ᒎ䆍सᬢ⓬ࣽ βᔓ䗭̺সȟᗞѐ̺ጸ᱇Ƞ 䔅ᵣࣸ䛹⮰➥ᕓसᵣछБȧ᷒ÿÿ➇䗺㏳ຟᭋȨ䗏፱АϦ 君♢⺊ѐ⮰҈৭͙ᢁᡵ ݜ 喏ₐ҈৭͙喏⾫䊶ᭋ䭱⮰ᕷϦ Ꭰख㘩ᰵ̬⁍ⴙᮮ⮰ⰤцȠ ݧ ⩧Ჭガ⮰⺊ຟᗘ⊚κ⾦͙喏䮣 ڑ β↵ᕉ喞䔅ͷ͙ѿ⣜β㞦ᱛტᄥκᄥ℀⮰⌝ᕉÿÿລ᭛॒ ↵⊤̺Ϧ䬠ᕷϦ ݗ ⻧⮰ᗞ⬇͙喏䔄᭛↵⊤ᒨₐⅤᕾ❝ ᕷ⮰⁎ૈ͙喏ួᝂ㏻ःⱬᗞ⁏ϐ䯲喢
倄㔀䗏̬᷒㝘㒺স䄼⮰҈৭ፒᰵ̬䔣ᗽᕓ⮰ᱠ㉌Ƞ҈ͦ ̬ѹ᧱䪫㶔䓪ูᱮᕉᘟ⮰㞦ᱛტ喏ᣎ㉎ ڱ โ䘔͂⩸⮰ูᱮ ᕓᬢ喏倄㔀ь㐋̺⣜Џᕓȟ͈̺㺫ȟ᷒ᘟ̺⣜⮰ᄥ ⿷͙䓪 ݜ β̬স䄼Ƞ⩋≧̺⾦䬠⮰θ䛹ᕓ䔅̬ͧ䷄䉛⾫ Ђ ڔ 䘔⮰⇥⩧҈৭ȟ㏤̶㞦ᱛࣶ㷱㒚҈৭͙Ƞ Ђ䖬Иࣧ ܦ 䉔⪽喏ࣧ⌝ ڑ ᣎ⾢Ƞ⛋ⲍ͙⮰⩣ၼ̬᷒㝘⮰ Ⴕ䲅Бࣶϭᙴ⮰㔭㭺̺ₐ㈧݃⮰ᴳ䷄ȧ㜹䏗亞㭺Ȩᒎβᄥ ℀Ƞ♢㔸喏ᬌ䃦᭛ᴳ䷄䔄᭛䗏᭪㔸ᬿ㻭⮰Ⴕ䲅䘩᱖ऽИ䔻 䱞ᩱη⮰㏿ᅬȠ䔅ख㔭㭺ϱϱ᭛ຩृ喢Ⴏ䃤ᄧឪᰠ ๓⮰⠺➕喏㔸䔅ह⩣ၼႵ♢⮰ⲍ͙᷒Ƞួᝂ喏䔅Џ㶔̬ ͖ᰠͦ侳Ϧ⮰η喢ճຮຮₐ喏䗏ʹ䔅ह⩣ၼ᭛̹ⴑ ̹㻵͙ͦःჟ㔱喏䔄᭛䭱̶Ђ͆ጞ҇喏ᓯ⩄ᗱᙫ⡚ 䏗κ云享⮰㔭㭺喢倄㔀䖬И䔇 ڑ 䔅᷒දͷ͙ȠѲЧҁ᷒ ̬ᵣ喏Ђ̹㘩ॶ䃵И᷒⮰㏿ᅬȠ ₐ㈧݃⮰ऒ̬፱҈৭䛸喏⩧䲎㗸ᮛ͙̬खԾ⮰㔭㭺≭㵬̹ ₎喏㔸 ݹ ᮛ͙̬ह㝊㔱㷗ᵨ㵸䊜⮰ࡶ䕀͙Ƞ䔅ह㝊㔱᭛ ֆ ܦ ۟喏䔄᭛ᛶᗀ݆݆⮰۟喢䔅̬ ݧ ᬢ䬠͙ ᵨÿÿႯᬎ᭛ᬌ䭼छ㘩⮰ᩱη⮰㏿ᅬ喏ࣴ᭛ᬌ⒈㏿ᅬ⮰ ݹ Ƞ䔅䛸ᰪࣽ⩋䓳Ϭʹ喏ࣴᄲцࣽ⩋Ϭʹ喢䔅ह㝊㔱᭛ѐ ჟ㔭㭺⮰Ϧृ喢ລᣑ̷Ბцፚ ߕ 㔭㭺䔄᭛䒘䏗⻧ࣧ喢倄㔀⇍ ᰵむᵴȠᅝຮस⩋≧͙喏И͖Ϧ䘩ц͖Ϧ⩋㏻ࢲ ⮰ᒝ৹̷ᲰᐦИ㜖ጝ⮰ᩱηȠ 侘ࡥκ倄㔀㔸㼬 ڣ ᰵ➥₶⮰⺊ॗ͵喏 ڢ ҈৭͙ѹ㒚᭪㺭Ƞ ᄥЂ㔸㼬喏侘᭛Ђ□偮⮰䆍ᒭげणȠĄ᷒ą㈧̹݃ϱӯҫ Иࣧ㏲⾢⩧ጯͷ̶ᆁᐬ⮰ᩱη喏ᑁࣽИࣹࣧᕉࣽ⩋ И㜖ጝ ڱ ᓯ⮰ᩱηȠ㏡㻴᪠͖Ą᷒ą㈧݃喏㻮䉻㔱䘩छБᙋ
䕆䓳๓㗲㜖ԍ⮰㼒喏倄㔀݇䕌 ܦ ᬎ䲊 ڣ 䆍ࣴ䲊៩䆍⮰䄃ᘻ ҈৭喏ὖ䌔ѹκₐ͐㔱ͷ䬠⮰̬͖⺊ࣴຮ̬᷒㝘⮰⾦䬠 ͷ͙ȠЂ䖬И䔇 ڑ 䗏Ą᷒ᘟą͙喏Ѳसᬢ䖬И᠑៝⣜
߾ጯ冭ጮ⿷㒺ᱛ亲喞ᡖ༭䴒➥e㞪ᵨᓣe⺻ ٷݕ ᕉ㒺ᱛ亲喞 ߌ ᠫ๓䭫㢣Ḛ㏟ᑿЏ㒺ᱛ亲喞㒺ђ℀φჲ㟻䛸๓႒㒺ᱛ 亲喞∁ࢎ⊚თ㒺ᱛ亲ࢍ冭ඊᅀࢱȟ๓⮳თᑿЏ㒺ᱛ亲ȟ цთ㒺ᱛ亲ȟᲈ೯ጮ᪳ ࡂ 㞦ᱛ͙ᓯふȠ
ÿÿ䗏 ڱ ᓯ⮰⣜喏И̬͖Ϧ⮰ፒᰵ ڢ ูᱮᕓ̺ⴇⰪ ᕓ⮰ ڱ ᓯ⣜Ƞ
Ą侘ͷą㈧͙݃喏倄㔀Ջ⩝਼Џലⴸᒎ⮰䮢ӽ⮰ᒎ ᐻᄥ侘䔇㵸β䛹⮰ᘟ䆍喏㔸᭛̬͖ ڣ ᰵ͜ჸ᪳ ڱࡂ ⋡ ̺҇᪅ᕉᘟ⮰げणȠ䕆䓳㏎⮩叽ь㐋㞞ᒕ⮰㶔⣜喏䔅χ侘ͷ ̹ϱ䆍ᒭⱬఇႏ⮰⺊喏䃤䔄䆍ᒭⱬь㐋⮰ ߇ 䛻Бࣶ И□偮⮰⺊Ƞᰵᬢ䶢㐄ᰵ̬͖ᄻᄻ⮰Ϧᒎ喏々Ꭰࢲ ञ⮰䶢〛ᲭⰚⱦ᱇᱖Ბ喏䔅Џ㶔ⱬऒ̬㶍⮰θ䛹ᕓ喏 ̬͖⇍ᰵむᵴ⮰䬚䷄Ƞ䔅ᄻᄻ⮰Ϧᒎ̺ ڤ ಷ䔈ⱦ⮰༫ᔭ喏 倄㔀⮰҈৭͙䮻ะछ㻭Ƞ 倄㔀̬䲎ᄥь㐋ᬌ℀䛹㻲喏ऒ̬䲎݅ጓ㶍ⱬ䓳ࣧ ̺⣜ȟ͈̺㺫ȟ̺᷒⣜Бࣶ⺊䄉㑂㏳ᅮͷ䬠⮰θ䛹ᕓȠ ڢ ҈৭䷄ᱼ⮰□ᙋᲑ⎼κ͙⮰ь㐋̺ࢲञ喝ऐЏ๕᪳ప͙ 㐄㒺⮰ᭋᏓȟⅵ਼ᬢЏ䮢ൽ侘ࡥ⮰ᒎ⟢ȟऺ㓫ᄰᬑ⮰ऐ 㔭ᩱη喏Бࣶ܍Ϧ❝̶⺊ຟ⮰ь䄠Ƞ㮩♢፤፤䛳⩔㏎⮩叽䔅 ᵣ ڣ ᰵ᭪㦃ь㐋ᘻট⮰㞞䄯喏倄㔀ࢠ㏿ऴ͈㺫⮰ឬ∁Ꭲ䕆 䓳̬Ⴘ ڔ ⮰ᑿЏ䄙㼬⣜β͙ь㐋 ٯ ㉌⮰㶔䓪ȠЂឪ ݜ β䓳̺ࣧ⣜ȟ͈̺㺫ͷ䬠⮰স䄼喏ᎢՋ ߕ ̺ᑿЏ͂⩸ Ⱔ ڟ 㖀⮰㶔䓪ᐻ喏䄁పู ڠ ͙ᑿЏ᪳ ࡂ ͙̹छܲ ޞ ⮰ Ꭰь㐋Ƞ 倄㔀ᄥκ⾦䬠䔅̬ͧ䷄䲊፤ᙋ ڠ 䋏喏ᰪ ۅ 䓳Бᘻ๓ ݕ ⩧ტᅀ e㣗 ڜ 䔖喋(JPSHJP.PSBOEJ喌ͦ䷄⮰ࢆท䃦᪳ȧ⾦䬠⮰䲅㻮ȨȠ Ђ⮰㷱㒚҈৭ᐢ㐙β⇥⩧҈৭⮰ͧ䷄喏ᄥ̺㐄⩧⮰ऴᎢȟφ ٷ ߇ ⣧⦯⮰䔻ᬺ➥ᕓ喏Бࣶ҈৭⮰⣛ද䔇㵸βᣎ㉎Ƞ⣧⦯⮰䔻ᬺ ➥ᕓ٭䃤㗸ᮛ⾦䬠㷗㏟ ݜڑ ҈৭͙ࣧȠ䔅ࣹ䓳Ბ٭䃤܌ͺ᭛ ᬌ䭼⮰㏻侸̶⮰Ⱔξ⍃䔻喏⩋βуๆ̹स⮰ᩱη̺̹स⮰䬚 ䷄喏ఌ̹ͦϱ҈৭ᒝ৹ ڢ ⣛ද喏⣛දᒝ৹ⱬ㻮䉻㔱ᄥκ҈ ৭⮰⤲㼏Ƞ 倄㔀κ Ꭰ ܦ ⩋κᬲᬺȠ䮻ऺ喏Ђᅝ䄧κ͙ ࡃ Ϙ㦃ह⮰ ͙๚㒺ᱛ႒䮎喏㣣ᓃ㒺ᱛ႒⇥⩧̿͆ࢆท႒ѹȠ倄㔀⮰҈৭ ͙স䭱̶Ꭻ∇ᆁ ܦ 喏࠱᠘͙㒺ᱛ亲ȟ仂䘩ࢆ➕亲ȟ ϶ᬑ㒺ᱛ亲ȟ͙㞦ᱛⵀ⾢䮎⇥⩧䮎㒺ᱛ亲ȟ͙ࡺ͂㏖ಇȟ ࡃ Ϙͥ叒㞦ᱛ͙ᓯȟ ࡃ Ϙ䴕侧ࡺ๓ҫ亲᪳ ࡂ 䮎ȟ̶⊣䃭๓ ⣜Џ㞦ᱛ亲喋⣜ͦૈ侘៵䯱㒺ᱛ亲喌ȟႭ∎㒺ᱛ亲ȟ↋㟻Ⱝ 㒺ᱛ亲ȟ⎂ ࡃ Ⱝ㒺ᱛ亲ȟ䉡ጊⰭ㒺ᱛ亲ȟνࢃⰭ㒺ᱛ亲喞∜ ⌱䓴๓႒ ޓ 䮎ȟ⌱䓴ጮ᪳ ࡂ 㞦ᱛ͙ᓯ喞䴕 ٵ ጊ⿷㒺ᱛ 亲ȟ๓䗝ጮ㞦ᱛࣽᆁ㒺ᱛ亲ȟᎲ ࡃ ๓႒ࢆ➕亲喞ᴘഀᄔ䗏 ᬦᮚ ޓ 䮎喞ᓣ᠈≇ж➥㒺ᱛ亲ȟ❝ᅀ ڜ ᵥ㒺ᱛ亲喞⦊ ڤ ࢰ
ࢍ➥⥟e㣝᪳喋㠝喌 もᆁϦȟђ᪒ࢍ➥⥟e㣝᪳⩧݇Ϧ Ꭰ ᰴ ᬑκђ᪒
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A Harmony of Contrasts
Horses have a special spiritual significance to Gao Xiang and feature prominently across his works. To him, the horse is a symbolic extension of his soul. The Dreams series prompts us to look deeper not only at the story unfolding on the canvas but also inside ourselves. The spiritual connection between the horse and the rider is felt throughout The Dreams series. The horse and the human become an extension of each other, the horse acting as a nurturing force or echoing the curiosity and spirit of exploration of the man. Yet, rendered in simple form, the horse is a complex force. Looming large compared to the much smaller figure of the man, the horse is a symbol of great power and mystery. This power can be contained or unleashed, gentle or ferocious, like an internal dialogue with the soul. The Dreams series compounds the mystery and spiritual qualities of the horse with those of the stars, arranged in mesmerising constellations inspired by antique Chinese astronomical charts. The energy of the works often follows the arrangement of the constellations. A bolt-like arrangement of the stars energizes the two horses and their rider into a kind of forward movement that Gao Xiang ingeniously conveys through three still figures. Another work picks up the stick-figure elements in the DUUDQJHPHQWRIWKHVWDUVLQWKHZD\WKHDUPVRIWKHKXPDQ¿JXUH SLFWXUHGDOPRVWÀRDWLQJDERYHDQR[DUHIROGHGEHKLQGWKHKHDG both the ox and the man lost in contemplation. A more vaster constellation inspires a horse whose exaggeratedly elongated shape under the stars feels timeless and eternal, like the universe. This poetic image simultaneously evokes melancholy and peace, sadness and hope.
Gao Xiang’s dream-like, beautifully harmonious works are deceptively simple. A master of conveying complex ideas, Gao Xiang achieves a harmony of contrasts—between tradition and modernity, East and West, dreams and reality—while exploring the complexities of internal and external worlds. The duality of life and space is a theme that runs throughout his oil paintings, works on paper, and installations. He invites us to question, to look deeper. The dream-like tranquility of the sleeping man and benevolent tiger is in contrast with the title of the series— Feed the Tiger . Yet, neither the title nor the apparent tranquility tell us the ending to this story. Is the WLJHUPHUHO\FXULRXV²RQKLVZD\WR¿QGELJJHUSUH\SHUKDSV² and the man peacefully sleeping? Or is it a more menacing reality? And if so, is the man an unwitting victim or is he indeed D%XGGKDZKRZLOIXOO\VDFUL¿FHGKLVERG\WRIHHGDKXQJU\WLJHU" Gao Xiang invites us to enter the dream. But as with any dream, he cannot tell us how it ends. In another work from the series, the tiger lies bleeding in the background while in the foreground a dancer is frozen in mid-step. Is the dancer in the midst of making a decision or regretting one? 7KLVLVDPRPHQWIUR]HQLQWLPH²DQRXWFRPHRILQ¿QLWHSRWHQWLDO stories, a precursor to a myriad of potential outcomes. What happened here, what will happen? Was it the dancer who hurt the tiger? Will the dancer help the tiger or turn away? Gao Xiang does not have the answers. As in life, each of us will construct our own VWRU\LQÀXHQFHGE\RXUSHUVRQDOOLIHH[SHULHQFHV
These dual qualities are also picked up in the poignant representation of the cowherd and the weaving maid star- crossed lovers who can only meet for a short time once a year. Suspended in the heavens and minimally rendered, the Goddess in her contemplation is a study of contrasts—is she dwelling on the sadness of her separation from her human lover, the happiness of their eternal love for each other, or perhaps both? 7KURXJKEROGDQGFRQ¿GHQWEUXVKZRUN*DR;LDQJFUHDWHVSRHWLF ZRUNVWKDWDUHQHLWKHU¿JXUDWLYHQRUDEVWUDFWVWUDGGOLQJDPDJLFDO dream-like space in-between. Gao Xiang invites us to enter the Dream but at the same time it is also an invitation to embrace reality—the inner reality, which for each of us comes with its own complexities and contradictions. Gao Xiang’s Horse Pagoda series re-envisions the horses in the form of Tang Dynasty terracotta figures stacked as a pagoda, a symbol rich in cultural and Buddhist meaning. Rendered in the traditional colors of red, white, and black, the pagoda of horses symbolizes the spirit of the seasons, and perhaps also the strength of tradition and the spirit of our souls. Sometimes pictured atop WKHSDJRGDLVDVPDOO¿JXUHRIDPDQVWDQGLQJRQWKHPLOOHQQLD of history, straining to see far into the future—another balanced duality, a question without an answer. This tiny figure, in the typical overlook pose, can be found throughout Gao Xiang’s works. While attaching great importance to tradition, Gao Xiang masterfully balances the dualities of past and present, East and West, weaving layers of dream, reality, and mythology. The subject matter of his works is inspired by Chinese traditions and history: the beautifully rendered star constellations from antique astronomical charts; the forms of the Han and Tang Dynasty terracotta horses; the ancient stories of a hunter shooting the sun, and the mortal falling in love with the Goddess. Frequently using a color palette composed of the predominantly traditional colors of red, white, and black, Gao Xiang nonetheless expresses Chinese traditional elements through a thoroughly contemporary language, using both Eastern and Western techniques. Finding a harmony between past and present, East and West, he revitalizes the millennia of tradition that are an inextricable part of Chinese contemporary culture, in terms that are relevant to the
contemporary world.
Gao Xiang is very interested in the theme of space, having written a Ph.D. dissertation on "A Contemplation of Space" about the Italian painter, Giorgio Morandi. Gao Xiang's installations continue the theme of his oil works while exploring the combination of painting, the transparent qualities of acrylic glass, and the environment. The transparency of glass allows the incorporation of the background space into the work. This in turn DOORZVIRUDOPRVWLQ¿QLWHH[SHULHQWLDOLPPHUVLRQV²DPXOWLWXGHRI GLIIHUHQWVWRULHVDQGGLIIHUHQWTXHVWLRQV²DVWKHZRUNLQÀXHQFHV WKHEDFNJURXQGDQGWKHEDFNJURXQGLQÀXHQFHVWKHSHUFHSWLRQRI the work. Gao Xiang was born in 1971 in Kunming. He received his Master's and Ph.D. from the prestigious China Central Academy of Fine Art (CAFA) in Beijing. Gao Xiang's works have been widely exhibited in China and internationally, including the National Art Museum of China, the Today Art Museum, the Ningbo Museum of Art, the Jiangsu Art Museum, the China Millennium Monument, the Capital Museum, Shanghai Zendai MoMA (now the Shanghai Himalayas Museum) in China, the Kwangju National Museum of Fine Arts and the Daegu Art Development Museum in South Korea, the Sovanna Phum Theatre in Cambodia, the Chiang Mai University Theatre, Chiang Mai City Arts and Cultural Centre in Thailand, the Örebro Konsthall City Art Museum in Sweden, the Vest-Agder Fylkes Museum in Norway, the Gallery of the University of Missouri-Columbia in the United States, the Arsenal Contemporary Art Museum in Canada, and the Grand Palace, the Carrousel du Louvre, and the Congress Palace Museum in France.
Katrine Levin (United Kindom) Curator and founder, Katrine Levin Galleries, London 16 February 2017, London
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᷒⮰䓥㑄
䘩ᄥ倄㔀⮰㐄⩧ϓ⩋βᒝ৹Ƞ
倄㔀ૈ⁎⩧᷒ȠᎠ ݹ 喏Ђ݇҈⮰Ą䄭᭛⣕֢ą㈧݃喏ᅝᰵ ᷒Ꭷ㝘⮰㝊जস̹℀ҷ⮰⩣ຟϦ➕ᒎ䆍ȠπᎠ ݹ ݇҈⮰Ą᷒ą ㈧݃喏᷒Ꭷ⮰ͧ㻾ऄβ̹℀ҷ⮰Ϧ̺侘Ƞ䮻ऺ喏 ڢ ݇҈ ⮰БϦস侘ͦ䷄ᱼ⮰҈৭喏ᅩネ⇍ᰵᬺ᭪⮰ऄᒎ喏Ѳ̺ ܦ ో 䮢ӽ⮰ᬺ᭪ ڟ 㖀喏Ϻऒ̬䲎⾭᭪β҈৭⮰᷒ᎧᕓȠѲ᭛喏 ̺ᰪ㏻≭㵸⮰ࢍ䕆̹स喏倄㔀⮰҈৭Ꭲ⇍ᰵႸ ڔ 㙝⻧⣜Ƞ ̺⣜ԉᠭⱬ㠑࢟㠑⻧⮰ ڟ ㈧喏䃕Ђ⮰҈৭⇍ᰵ䛹ู䊱⣜ ͧ͵⮰㔭䌛Ƞ ຮ䄠倄㔀⮰҈৭̹㘩ᑾ ڑ 䊱⣜ͧ͵⮰㵸݃喏ႯИ⻧⣜ ͧ͵⮰䌉⻧Ѩͺᰠ䔈Ƞᅩネ䔅ѹ⩧ტः ݜ ͑ᵨ⮰⣜ͧ͵䃙 ㏯喏Ѳ᭛Ђ݇҈ᬢᰠ ߌ ӓ䛹㜖ጝ⮰ ڱ ᓯᙋःস⠘⿷ᕉ㔯Ƞ ̹䓳喏倄㔀⇍ᰵᄲโ䘔⣜̺ ڱ ᓯ͂⩸Ⴘ ڔ ᄥ⿷䊣Ბ喏㔸᭛ ᄧឪႯИͷ䬠⮰䓥㑄ፒ喏ᅝ⍤䊜᷒⮰䓥㑄䗏ᵣ喏䲊 ⱋ䲊Ꭷ喏Ѩ᷒䔄䚾Ƞ㞦ᱛტИქᬿ ڣ 䆍̺៩䆍ȟ⣜̺㶔⣜ȟ ڱ ᓯ̺โ⩸ͷ䬠ֆ䲊ₐ࢟ᒨ⮰ะ⤲喏倄㔀䖫 ٹ β䔅ガࢁ ࡂ ⮰ะ⤲ᐻ喏 ߇ పⴇⰪ⮰ࣸͷ䬠ᄧឪ㶍ȠϺ䔅ᘻ͵ ̶Ბ䄠喏倄㔀᭛̬ѹ㶍⮰倄ȠႭ䊜Ჭ〛⮰ᑿЏ㞦ᱛ⩸͙喏 ោ͙ͧ͵ࣹ㔸䃕Ђ⮰҈৭̺у̹सȠ 倄㔀⇍ᰵ㶔䲎̶䊜ऽᲭ〛喏㔸᭛ ߇ పֆ⌝ ڑ ⮰ࣽᣄȠ䔅̺ Ђ䪫ⵀ⾢ᅀe㣗 ڜ 䔖喋(JPSHJP.PSBOEJ喌̹ᬌ ڟ ㈧Ƞ̺ ͂㏖ๆ㞦ᱛტ䔩Ⅾ ݢ 䕌㶔䲎㻮̹स喏㣗 ڜ 䔖ऽ ڱ ⮰ࣽ ᣄ䃕Ђ⮰҈৭̹स܍৹喏䃕ᬑ፤➕↼⊠↵䲅㔸⺊⮰ ٵ 䒵 ͷ͙Ƞᄥ㣗 ڜ 䔖⮰ⵀ⾢স☙❝喏䃕倄㔀㐄⩧ᒎ䆍⮰䔵᠕স ൽ䕌䲎℀䒯 ݢٷ ȠᅩネЂ䔩Ⅾ⩧䲎⮰ ߇ 䛻喏ѲЂ⇍ᰵֆ ᬌᎻ⮰⇰喏㔸᭛ ߇ߖ ᄲ ߇ 䛻㪠ॗ⼕Ꮋͷ͙Ƞᑿ♢喏䔅 ݢٷ ȟ㶍স ڱ ᪇͙᪳ ࡂ ь㐋͙छБឪ ݜ ᵥ⎼Ƞ͙ ਞ႒ԍ͙Ꮴͷ䕿喏͙㐄⩧ᣔሳѨ̺̹Ѩͷ䬠喏ႯИѨͺ
䮐βऐЏ̺⣜Џȟ ڱ ᓯ̺โ⩸ͷ䬠ᄧⅮ㶍ͷโ喏倄㔀䔄 ߇ పឪ ݜ ͈㺫ͷ䬠⮰㶍Ƞ倄㔀႒⮰᭛⇥⩧喏Ѳࢠᄥ͙ь㐋 ᪳ ࡂ ᰵ≿ࣆ ڠ 䋏ȠЂ⮰Ϧ➕স ߔ ➕ᒎ䆍喏ᰠๆϺ͙ऐЏ䕌ಷ 㞦ᱛ䗏䛸㣣ᓃज़ࣽȠ̺̹सტসࡦ⮰㞦ᱛტ⮰Ꭻ∇ϐᒬ喏 䃕倄㔀ᄥ ڔ ⤯ ࡂ ᬢЏ⮰᪳ ࡂ ᰵ⌝ ݧ ⮰ѿцȠ̺ᑿ̷≭㵸⮰䭱 ᑿЏ㞦ᱛ⮰倄Ꮢࠬ䉔 ࡂ ̹स喏倄㔀⇍ᰵᩪᐯ㜖ጝ⮰᪳ ࡂ 䏗ЩȠ ຮҁ㘩๋ᄧⅮⰤξ⤲㼏⮰सᬢࣴԉᠭ㜖ጝ⮰➥㞞喢ᰠガ㺭 䄠喏ຮҁ㘩๋ֆ ݜ স㔸̹स 䔅͖䬚䷄̶喏倄㔀 ڹ ̬⁍᭪ βЂ䊱ᑦ⮰㶍㘩 ߇ ȠЂᄲ⠘➥⮰᪳ ڱࡂ ⋡⍃䔻ᮚ䕹⮰㞦ᱛ 䄙㼬ͷ͙喏ᮚ䕹ᕓ͙ᯃ㫻ⱬ⠘➥ᕓ喏䕆䓳ᠭ㐙㔸⌝ ڑ ⮰ϐᒬ 㔸䓪 ڝ 䃲Ƞఌₐ喏倄㔀Ꭲ⇍ᰵᬢ̷≭㵸⮰䊱⣜∎ᮚ喋1PQ 4VSSFBMJTN喌䗏ᵣ喏䛳⩔≱᭪⮰㐄⩧䄙㼬喏㔸᭛䛳⩔βࣆ䛹㔸ჸ ᰵჲᏒ⮰㐄⩧䄙㼬喏ጸ᱇䮐βᒎ䆍⮰ჿᘻͷโ喏㘩๋Ջ ߕ 㐄⩧ 䄙㼬䄠 ܦ ᰠๆ⮰ ڱ ქȠ Ϻ͙㒺႒⮰㻾ᏒᲑ䄠喏䔩ⅮᲭ〛Ꭲ̹జ䯪喏జ䯪⮰᭛Ჭ 〛ͷ䬠ឪ ݜ 㶍Ƞఌͦ⇍ᰵᴳ۲ॶ䃵ИϬʹ᭛㶍喏㶍 ⮰ᢸᤍႸ ڔ ᰵ䊂κИᄥᅦᏒ⮰᩻ᙋȠ倄㔀ᅝ᭛䔅ᵣ̬ѹ⩧ ტ喏ᄲ㜖ጝᩪЧरⴇⰪ㏌㦇ͷ͙喏♢ऺ ܙ Ջ㜖ጝ⮰᩻ᙋ ࣧᥲⴇⰪ⮰䲎䲎ȠЂ⮰̬፱҈৭喏䘩छБ㷗㻲̬ͦ ⁍۟喏̬⁍㼏۟Ƞ
ᒙ䨷 ࡃ Ϙ๓႒㒺႒᪅ᢴ じ ᅶ༭ᅨࣸᎠᆁ͙ტ亲もᆁϦ Ꭰ ᰴ ᬑκ ࡃ Ϙ๓႒㩆⻬ఙ
The Boundaries of a Dream
to many twentieth century artists who created superficial spectacles, Morandi’s internal explorations were what made his work so amazing; he bathed ordinary objects in a calm, sacred radiance. Gao’s love of Morandi allows him to exercise restraint in choosing and modeling his painted forms. Although Gao also pursues powerful surface effects, he does not randomly vent his emotions, because he endeavors to place this power within an orderly structure. Of course, some of the roots of this control, balance, and restraint can be found in traditional Chinese culture. Chinese philosophy embraces the doctrine of the mean, and Chinese painting esteems the ability to balance similitude and GLVVLPLOLWXGH$OORIWKLVVHHPVWRKDYHLQÀXHQFHG*DR¶VZRUN In addition to the desire for balance between the ancient and the modern, the interior and the exterior, Gao also attempts to balance East and West. He learned oil painting, but he still has a deep interest in traditional Chinese culture. Very often, his human and animal forms are inspired by the plastic arts of ancient China. Broad interactions with different countries have allowed Gao to experience a range of cultures in a globalized era. Flying in the face of the homogeneity of international contemporary art, Gao has not abandoned his cultural identity. How can you pursue mutual understanding while still preserving your own unique traits? Put more simply, how can you achieve both similarity and difference? Seemingly in answer to these questions, Gao Xiang once again shows off his astounding powers of balance. He cleverly places unique cultural elements into a universal artistic language, hiding uniqueness within universality. Through deep and persistent interaction, he arrives at a single, common
Gao Xiang likes to paint dreams. Ten years ago, he created the Who is the Doll series, which featured disproportional male and IHPDOH¿JXUHVRQDGUHDPOLNHVWDJH+LV The Dreams series was created five years ago, and the protagonists of these dreams are disproportional humans and horses. Recently, Gao has continued to focus on humans and horses, but has reduced the distortion. In this new work, the figures have obvious links to excavated WHUUDFRWWD¿JXUHVUHSUHVHQWLQJDQRWKHUNLQGRIGUHDP+RZHYHU in contrast to popular children’s cartoons, Gao Xiang’s work never completely left reality. Maintaining some relationship with reality allowed Gao to avoid repeating the old tropes of Surrealism. Even If his work cannot be classified as Surrealism, it is even further from Realism. Although he received rigorous training in Realism, Gao places more emphasis on his emotions and thoughts. However, Gao sees external reality as completely opposed to his interior world. Searching for the boundaries between the interior and the exterior is like traveling along the boundaries of a dream, neither real nor unreal, like a daydream. Artists very HDVLO\FKRRVHEHWZHHQWKH¿JXUDWLYHDQGWKHDEVWUDFWWKHUHDOLVW and the expressive, the internal and the external. Gao avoids these RYHUVLPSOL¿FDWLRQVDQGDWWHPSWVWR¿QGDEDODQFHEHWZHHQWKHVH WZRFRQÀLFWLQJVLGHV,QWKLVVHQVH*DRLVDPDVWHURIEDODQFH,Q a contemporary art world that prefers extremes, his eclecticism makes him stand out. *DR;LDQJGRHVQRWPRYHWRZDUGVVXSHU¿FLDOH[WUHPHV LQVWHDG he attempts to dive deeper into his work. This tendency is unrelated to his long-term study of Giorgio Morandi. In contrast
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understanding. Therefore, Gao’s work is nothing like the accessible Pop Surrealism that is so popular now. Instead, his painting language is dignified and dense, and in addition to the visual implications of his work, he hopes to use painting to say something deeper. From the perspective of Chinese aesthetics, the pursuit of an H[WUHPHLVHDV\EXWWKHGLI¿FXOWSDUWLV¿QGLQJDEDODQFHEHWZHHQ extremes. Because no standards dictate the nature of balance, the mastery of balance is entirely reliant on our perceptions of proportion. Gao Xiang is the kind of painter who places himself ZLWKLQFRQÀLFWVDQGHQWDQJOHPHQWVWKHQKDQGOHVWKHVHFRQÀLFWLQJ elements in his own way. Thus, each of his works can be seen as a decision or a solution.
Peng Feng Professor of Aesthetics at Peking University China Pavilion Curator for the 54th Venice Biennale Written from Weixiu Garden, Peking University 16 September 2014
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˧̃Ӡ˴Ὃ ࣱ ᜈᎵཱྞὋஅᘨጞጥೞᦺጺጮᎾశጭ ԐዚfԐዚ
5IF%SFBNT 1IPUPJOTUBMMBUJPOPODPMMFDUPSHSBEFDPUUPOBDJEGSFFUFYUVSFEBSUQBQFS DNfDN
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᫇˧ӠὋ ࣱ థလၔὋˈབྷ ԐዚY Ԑዚ
*OUFSSPHBUJOH%SFBNT "DSZMJDPOGJCFSHMBTT DNYDN
᫇˧ʸ ࣱ လၔὋˈབྷ ԐዚY Ԑዚ
*OUFSSPHBUJOH%SFBNT "DSZMJDPOHMBTT DNYDN
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˧̊Ὃ ࣱ థလၔὋˈབྷ Ԑዚ Y Ԑዚ
5IF%SFBNT "DSZMJDPOGJCFSHMBTT DNYDN
˧НὋ ࣱ လၔὋˈབྷ ԐዚYԐዚ
5IF%SFBNT "DSZMJDPOHMBTT DNYDN
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˧̃Ӡ̃Ὃ ࣱ လၔὋˈབྷ Ԑዚ YԐዚ 5IF%SFBNT "DSZMJDPOHMBTT DNYDN
˧̃ӠʸὋ ࣱ လၔὋˈབྷ ԐዚY Ԑዚ 5IF%SFBNT "DSZMJDPOHMBTT DNYDN
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úú࠰˧ʶὋ ࣱ థလၔὋˈབྷ ԐዚYԐዚ
5IF%SFBNTὙ4IPPUJOH%PXOUIF4VOT "DSZMJDPOGJCFSHMBTT DNYDN
᫇˧ЛὋ ࣱ လၔὋˈབྷ ԐዚYԐዚ
*OUFSSPHBUJOH%SFBNT "DSZMJDPOHMBTT DNYDN
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úúઔ˧̃Ὃ ࣱ థလၔὋˈབྷ Ԑዚ YԐዚ 5IF%SFBNT)VH "DSZMJDPOGJCFSHMBTT DNYDN
úú࠰˧˴Ὃ ࣱ థလၔὋˈབྷ ԐዚYԐዚ
5IF%SFBNT4IPPUJOH%PXOUIF4VOT "DSZMJDPOGJCFSHMBTT DNYDN
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úú ܭ ሖп˧̃Ὃ ࣱ ፔὋප ܚ Ὃˈབྷ ܷᥭࣉᓧశԦ ࡘ ᎾశᯝὋ᭽ ڍ Ԑዚf Ԑዚ f
5IF%SFBNT4QSJOH 4VNNFS "VUVNO 8JOUFS 4JML JOL BDSZMJD %BFHV"SU%FWFMPQNFOU.VTFVN ,PSFB DNfDNf
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úúឹ௦ဓϥ˧˴Ὃ ࣱ လၔὋˈབྷὋᨶᩉᩖ ጋ̇ᢾ᮲Ὃӑ̚ ԐዚY ԐዚY Ԑዚ 5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT CSPO[FIJOHFT (SFFO5)PVTF #FJKJOH DNYDNYDN
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úúឹ௦ဓϥ˧ЛὋ ࣱ လၔὋˈሩὋʿ᩠ᨁ А᧖லᗓ߶᮲Ὃ ގ ԐዚY ԐዚY Ԑዚ
5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT TUBJOMFTTTUFFMGSBNF ,SJTUJBOTBOE /PSXBZ DNYDNYDN
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úúឹ௦ဓϥ˧Л Кˀ ࡌ ᦉ 5IF%SFBNT8IPJTUIF%PMM "1BOPSBNJD7JFXBOE*O%FUBJM
úú࠰˧ʸὋ ࣱ ᜈᎵཱྞὋஅᘨጞጥೞᦺጺጮᎾశጭ ԐዚfԐዚ
5IF%SFBNT4IPPUJOH%PXOUIF4VOT 1IPUPJOTUBMMBUJPOPODPMMFDUPSHSBEFDPUUPOBDJEGSFFUFYUVSFEBSUQBQFS DNfDN
086
087
úúឹ௦ဓϥ˧ӠʶὋ ࣱ လၔὋˈሩ ጋ̇ᢾ᮲ ӑ̚ ԐዚYԐዚ
5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT
(SFFO5)PVTF #FJKJOH DNYDN
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úúឹ௦ဓϥ˧Ӡ̃Ὃ ࣱ လၔὋˈሩ ࣄᳩ᮲ ก ڍ ԐዚY ԐዚY Ԑዚ 5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT 1BSJT 'SBODF DNYDNYDN
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úúឹ௦ဓϥ˧Ӡ˴Ὃ ࣱ လၔὋˈሩ ԈҾ࣊᱔ࣉ᮲ ။Ц ԐዚY Ԑዚ 5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT 5IF-BOTDBQFPG0SFCSP /PSXBZ DNYDN
úúឹ௦ဓϥ˧Ӡ˴ ࡌ ᦉ 5IF%SFBNT8IPJTUIF%PMM %FUBJM
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úúឹ௦ဓϥ˧ʸὋ ࣱ လၔὋˈሩ А᧖லᗓ߶᮲Ὃ ގ ԐዚY ԐዚYԐዚ 5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT ,SJTUJBOTBOE /PSXBZ DNYDNYDN
úúឹ௦ဓϥ˧НὋ ࣱ လၔὋˈሩ А᧖லᗓ߶᮲Ὃ ގ ԐዚY ԐዚYԐዚ 5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT ,SJTUJBOTBOE /PSXBZ DNYDNYDN
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úúឹ௦ဓϥ˧̊Ὃ ࣱ လၔὋˈሩ А᧖லᗓ߶᮲Ὃ ގ ԐዚY ԐዚY 5IF%SFBNT8IPJTUIF%PMM "DSZMJDPOHMBTT ,SJTUJBOTBOE /PSXBZ DNYDNY
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㏤̶҈৭
Works on Paper
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᷒㔱倄㔀
⇥⩧䷈᫅⺱Ⴣ㝘⮰䓼⩔ҫЂ܌ͺβ̬͖͙Ϧ喏䷈᫅ຮस Ⅰු̬㝘⼬⪻喏⩧҈䔻 ܦ ̬㗍↵䲅সᄥ㮆⾦⮰ᙋⴑȠ ۅ ҈⮰ Ϧ̺㷗 ۅ ⮰Ϧ䘩᭛᷒ᘟტ善
Ą̬ܳИ⮰ᝬ㻭ᝬ䬧ϱϱ᭛̬͖͙᷒᷒Ƞą
ȞȞÿÿ೯ᓣ ߌ e❝ђe喋&EHBS"MMBO1PF喌
Ą᷒㻭β⩧喏♢ऺ⩧̷β᷒Ƞą
䃤ᰵ̬๕ИछБࣽ⣜䌔 ڑ 㵸͂⩸⮰∁喏Ϻ̬͖⣜ 㐠Ꮢ䌟 ݜ ऒ̬͖⣜㐠Ꮢ喏Ϻ̬͖͂㏖⏽ ݜ ऒ̬͖͂㏖喏Ϻ ̬͖⤲ѹ㒚⼧ ݜ ऒ̬͖⤲ѹ㒚喏Ϻ□偮͂⩸䔇 ڑ ⱋ͂ ⩸Ƞ ౼̷ᑦၼᄥᱦ䛸⮰႒ტИ㻮≷ⱬ倄䕋䓼 ߔ ⮰ㆾၼᄥ ۞喏ЂИᅉ䄁䃭ᬺ❝ఌಒ喋&JOTUFJO喌⮰⤲䃦喝㵸͂⩸̹ Ѳႄ喏⩆㜟छ㘩䌉И⮰͂⩸ϱ̬ᠳͷ䖑Ƞ䕿᪅ԍᒾ䌋ጸ 㙶Ϧ̬ᵣ喏㏴ಆԍϦ䬠ᭌ⚓ⱬ⠝ᝂ๕മȠ倄㔀⮰᷒㈧݃ ҈৭ᅝ⣜β᷒ද̺⣜⮰ⷜϐⅳȠ 㔭㭺䏗ऺ喏̬͖Ϧл⮩䰖㺲Ⰲ⮰ᆝ̶ֆ᷒ȠຟϦϺ㍭ ᭋะᒬ̷ⰷ喏̬͖⩣Ϧͪⱬ̬Ⅰ➇Ƞ̬ࡥ侘上侜䓳̬❳ ㏎㞞⮰๕⾦喏䌔䓳͖ᭋძȠ̬͖㏎㞞⮰ᄻϦ䋯κ̬ࡥጔ๓ ⮩侘㗸̶喏䔄ᰵ⮰々⿷̬Ꮣ侘ࡥല䊣⮰̶Ƞ䔅χ䘩̹छ 㘩᭛ⱋ⮰喏㗛᭛᷒ද喏Ѳ㻮㔱ࢠ㻵ⱬ䔅χᮛ䆍ц ܦ ⣜Ƞ 㭺ͷ᷒喏Ϧͷ᷒喏ₐऴ̬Ƞ
ÿÿ᪳Ḛ➥eᷡ倄喋7JODFOU7BO(PHI喌
じ̬⁍㻭 ݜ 倄㔀᭛ጠ叺ᑿЏ㞦ᱛ䭱ࢆ㻴ц̶喏̬፱䓪ᬺ ᖕe䊗➥喋%BNJFO)JSTU喌⮰̳㟝ま㐄⩧҈৭䰳ᗶβЂȠ䗏 ᭛̬፱⩔㲠㲢㓱㚬ֆ⮰⤯ѿᒎ⟢⮰҈৭喏㐄⮰᭛ᓯ□Ƞ 䗏⁍ⷜ䲎ᝂ䃤∔ ڣ ᰵ䆍ᒭᕓȠᘟ䆍ᒭͧ͵κ倄㔀⮰ 䛹㺭ᘻ͵ᅝ䊱⣜ͧ͵͙Ą㻮֢♢ąκ̬ᵣȠИ⮰ ⷜ䲎㐉䲊 ܦ κ֢♢Ƞ 㻭䓳̹ͦᄽ⮰͙㞦ᱛტ͙喏倄㔀᭛ᰬ↵䔣κ᷒ද⮰ ̬ѹȠᝂ䃤᷒ᘟტИ∔ц⪅ᘻ ݜ 䔅͖Ⳙᖛऄ ࡂ ⮰͂⩸͙ᝬ ᰵⰷѨ̹ⱋ⮰η➕喏ᎢⰷႯИ䔼⌼⊴䕉喏᭛䭡䭡䷺͙⮰ 㲢㓐ȠᎰၼຮ᭛䄠喝Ą̹ⴑঔͷ᷒ͦ㘍㲢̺喏㘍㲢ⴑ᷒ͦ ঔ̺ ą
ᑿ̺倄㔀⛋ᖵऺ喏Ҍᅝцࣽ⣜Ђᰵ̬ᑦ◴⮰⍠᱇喏ऽᒬ䔯 ݜ ऒ̬͖БИ⮰͂⩸ͦេᄰ⮰᷒දͷÿÿ㵸͂⩸Ƞᄥ κ倄㔀Ბ䄠喏䗏᭛㐄⩧ਜ਼̬ⱋႄ⮰͂⩸Ƞ
सᵣ喏㻮㔱ᙋ㻵Ϧস侘ͷ䬠ᰵᕖ⮰㖀㈧喏ЂИξⰤᙋⴑȟ ⤲㼏ȠϦ۞ⱬ㜖♢⮰㕟ᱡ⻭䄙喏㜖♢Ϧ⮰㕟ય喏䔅 ᭛͂䬠⩋➕⻭ჲ⮰স䄼Ƞ
͙๚㒺ᱛ႒䮎喏͙ⴑहᏒᰬ倄⮰㒺ᱛ䮎ᵍȠ倄㔀䔅ᝬ႒ 䮎㣣ᓃβࢆท႒ѹ喏Ђ⮰ࢆท䃦᪳䔵䷄ͦᘻ๓ ݕ ⩧ტᅀ e㣗 ڜ 䔖喋(JPSHJP.PSBOEJ喌Ƞ䌋㣗 ڜ 䔖ससㆧಷ⮰͙ ⩧ტ፤⢵̹स喏Ђ䕆䓳̬䊱⣜⮰ȟᕖ⮰ᙋ㻵喏̬ㆧ Ѩκ䕿᪅⮰㟹⮩স㮆Ꭷ喏ᒼᒼ㶔䓪Ђ䲅⮰⩋≧Ƞ㣗 ڜ 䔖ᄥ
倄㔀ᝬ㐄⮰倄㜟๕മ⮰侘ͷ䲊सᄧ፤喏ᕧ䃕ᘟ䊣ᩱთ䛸 ⮰ࡺ㶔ȟ⺊䕿ᴝ喋̹सκప㚪喌喏䔅ㆧь㐋⮰ⴟᴝ᭛Ϧ̺๕
⇥⩧ ݣ 喏ᅝᤍℇ喏Ϻ̹ҫๆ̬ܲ ߇ 喏㏴᭛ᖜຩ⮰ ䷈㞞ȟᖜຩ⮰≿⌍喏 ݣ ᔗ䕋⩧ጯ̶⼧ ߔ ȠЂ͙喏⇥ ᒕᎧ ࡂ ⅠුȠ
⩸Ⱔ䔊⮰㶔⣜ᒎᐻ喏᭛䲊፤ ڤ ಷ⮰๕ᷛȠ
倄㔀䧋❝侘Ƞ侘᱘䏗᭛䲊፤͙ᐻ⮰䆍ᒭげण喏⩆㜟䌋͉ 㐤᪳ ࡂ ᰵ̬χ ڟ 㖀Ƞь䄠̬ѹ႐ѻ⮰⠘⩋ངܲᘟᔡ㷗घ ڑ й⮰❢Ϟ喏ӫऽტ͙ᝬ亞⮰➍侘㼬䊣㾿喏ຮႯ㘩ԉ❢ ϞႵᑾᲑ喏ᅝ̺ႯȠऺᲑ❢ϞႵ♢ఊტ喏क़ ݜ 䔅͖⊴ᖛऺ喏 ᗶᕼ̹ጞ喏ӫា侘ნβȠѲ䗏ऑ㾿㼬᭛͖傀া喏ᬑ喏ང ⣕ⱬ⩔䗏侘⯚ֆ⮰䎠䳌ᬢ喏侘⯚⾭♢ᆁᐬ喏ᄲຟ႕㸥ࢣ 㔸ࣧȠᒱ❢Ϟឪ ݜ ᬢ喏ຟ႕স侘⯚䘩 ࡂ β㯁㰥喏़㏳ⱬ Ჭຩ⮰͉㏫Ƞ䔅ӫ᭛㯁⺊ÿÿ㯁ຟᝂ㔱ग侘ངངȠ
倄㔀छ䄠ሳᅆᙋჄͧ͵ȠЂ☙❝㜖♢喏☙❝䔅͖͂⩸ȠЂ ̷⮰⩣ຟѿಷ䘩䲊፤ᄻ喏⌥⇍䔅ჩᎫᬌೌ⮰͂⩸喏᪘⩻ⱬ 䔅͖͂⩸Ƞ
倄㔀⮰㻲㻵ᬌ⪽᭛͙ᐻ⮰ȠЂ⍕স⮰㼒ьឫβ䕿ȟ҇⩆ 㜟 ؾ ტ⺊Ƞ
Ђᬌᘻ䶰䔅͖͂⩸喏खᘟ㏻ࢲ䔅͖͂⩸ȠЂ∔㻲खͦᢁᡵ喏 㐄ख҈ͦ㻮㔱ȟᅬโϦȠⱨⲇ᭛Ђ⮰ᝬᰵȠ
⮩哅侘喏ь䄠͙䌋⢰ຄ̬䕿ᄲⱋ㏻ፒఊ͙ో๓਼⮰⮩㞞侻侘Ƞ
๕侘喏ь䄠᭛ⅵₒፉ⮰౼侽Ƞы๓⮰ᄲทসे⢷ÿÿⅵₒፉ ࣽ⣜β䉥ᅀ㏟⯲喋⣜϶ ٷݗڥ ಒ喌̶⮰侘喏Б ڢ ᠭͱ⮰㔼 ߇ স㵬㝘凈㏎⮰Ↄ⋞ ܦ हȠ亞ͧ㐉ϐᬿऺ喏 ژ ݹٯ Ꭰ喏ⅵₒፉͦᩧ࠴ຠ۲ำᝄ侘喏Ϟ⢳䔈ᒭ ۇ Ԅ㣣 βࡥ๕侘Ƞ
๕ц䬚Ђ喏⩧̷⮰छ᭛᷒喢ᬌ䃦φ叧ጯ⩧䔄᭛㏤ᑌ㐄⩧喏 ⩆㜟䔻ᬺ㷱㒚喏倄㔀⮰҈৭䘩 ڣ ᰵ̬ᄥ䔅͖͂⩸⌝ ݧ 㔸□ ᕓ⮰ᙋⴑȠЂᄥ䔅͖͂⩸⮰⤲㼏̹ࢁࢁ᭛ᝬⰷᝬᙋ喏ᰠ᭛ࣽ 㜖Ϧᓯ⌝↵⮰ᕉ㉎Ƞ
๕侘䕋ᏒᲭᔗ喏⩆㜟ь㼬 ڢ ͦፒ㔨ͷ侘喏⺊ͷऺ㸀喏๕̶ᭋძȠ
⯚༱eࢍ㆟៵eᴛ⣬喋∁喌 もᆁϦȟ㞦䃰ტ Ꭰ ᰴκጠ叺
͙Ϧ⮰ᘟ䆍͙ᕧ⻧̹ᐬ๕侘喏ⅵЏᅝᰵじ̬Ꮣ䨈ൽ喏䄃⁸ ࣶ⩧҈͙㷗̹ࣶ喏℀ຮ䄃Ϧᱺ⮩ȟᲈ⩗喏⩧ტ㦏 ڢ ᬸȟ 䴕喏 ݜ ⣜Џ๓ტຮᒼᗞ卫喏⩆㜟โ⩧ტ㻵ᄋ ݜ 侘⮰䛹 㺭ᘻ͵喏ᘻ๓ ݕ ๕ͧ᪅ь᪅ท䗺͂Ⴍ喋(VJTFQQF$BTUMJHMJPOF喌 ∔䛹⩧侘喏БंᓃᏣ⛅ȟ䯹সΪ䮲ᬢ㐋⇧㔱⮰ຩᙋȠ 䃤ๆ⺊䄉͙⮰ፉ⢷喏℀ຮᅓȟ㝈喏䘩ᰪ΄๕侘ᝄ䒒䕌䃫⺊ะ喏 ڢ ͙࠱᠘ᅱκᬲϽᆝᢸネ̹rts㢛ȟ㒆ᖢ⮰㺫⢷Ƞ侘ᄥκ͙ ϦᲑ䄠ຮₐ䛹㺭喏Б㜟⣜ࡺ๓̬㐋⮰⼒⮳ፉ㺫Ⴕ ⮰⾠䘩᭛⩝͐䒲 ڙ ࡥ๕侘៵⮰ᝄ䒒Ⴔ͐ӓȠ 倄㔀̷⮰侘ϺᲑ䘩̹᭛Ⴘ ۅڔ ⮰ȠႯИ䕆፤᭛⢵ⴟᝂढ ❳⮰㐫喏ួᝂ᭛䊐ో⮰㏎喏ᅝЂტνࢃ㏎ో̶䗏̬៥ ㏎喏ᅝь㼬͙ఌ⯚̷ჰ⩋㮗ᄨ㜠๕侘Ↄ㵬⮰䗏⌝㏎Ƞᑦ ◴凈≧⮰㞞ᒕࣽⱬᗱ㐖喏ⰷ̶ࣧ℀⣜ᰠⱋ喏䃕 ᘟ䊣 ڢ ͙̬ѹᰬૈ⁎⮰䄃Ϧ喏㒺ᙋჄ䃦㔱ȟ᩻ᙋ㏲㚧⮰ && ࢍᬺ喋&&$VNNJOHT喌ȠЂᰪ ۅ 䕿喝Ą̬❳ⷓ㐫喏 ⮰❝ᗱ侽ⱬ倄๓⮰䛽侥䬛䔇䨢㞞⮰叺ᬺȠą
㞞ᒕᄥ倄㔀Ბ䄠᭛㶔䓪ᗱ㐖ᙋ㻵⮰⃡ȠЂ⮰҈৭ь䔾ⱬ̹ स⮰ᗱ㐖Ƞκ倄㔀㔸㼬喏Ⅰුȟ⇥ᒕ᭛ᒨₐ⮰䪈ȠЂ䒧ᡑ
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Gao Xiang the Dreamer
Giorgio Morandi, the Italian painter, who not unlike his Chinese counterpart Chang Yu, instilled his still lifes with a strange, unreal feeling, a sort of Taoist paleness and sense of the illusory. Giorgio Morandi was almost Chinese in his Zen-like practice of oil, using the oil as sparsely as ink, and infusing his works with a deep calm, a perception of the void. Dreamers all! Perhaps one day soon, we will discover how to sidestep into a parallel universe, to jump from one plane of reality to another, to slip from one century to the next, from one geographical location to the next, from the ghostly world to the real world. Scientists ensconced underground in the Hadron collider watching fast-moving particles collide are now trying to prove Einstein’s theories that parallel universes exist and that we may even be RQO\D¿QJHUDZD\IURPWKHQH[WZRUOGRUXQLYHUVH7KH7DRLVWV like the Greeks, have always believed that the earthly world is mirrored in the underground world or in the heavens. Gao Xiang’s dream series makes the world of dreams and the physical world collide. A man lies beneath a tiger, dreaming on a white snow slope. A woman looks down from the stars at a man holding a water buffalo. A horse gallops through the red sky and the constellations. A little red man dances atop a huge white horse. Another stands astride a pagoda of horses, piled one on top of the other. This cannot be real. It must be a dream. But we feel it could be happening. The soul of the dream tiger and the man could be one.
“All that we see or seem is but a dream within a dream.” ——Edgar Allan Poe
“I dream my painting and I paint my dream.”
——Vincent van Gogh
The first time I met Gao Xiang, he was transfixed by a kaleidoscope painting by Damien Hirst, the spheres made of EXWWHUÀ\ZLQJVGHSLFWLQJ3V\FKHRUWKHVRXODWWKH),$&LQ3DULV This meeting was perhaps meant to be symbolic. Symbolism is as important to Gao Xiang as the Surrealist idea of "hasard objectif" is to me. It was no coincidence that we met each other. Of all the Chinese painters I have met and I have met more than a few, Gao Xiang is the one most obsessed by dreams. Perhaps, fellow dreamers are meant to meet like butterflies on a gust of wind, all part of an ephemeral world that seems so unreal that it might disappear. As Zhuangzi might have said: Am I dreaming of WKHEXWWHUÀ\"2ULVWKHEXWWHUÀ\GUHDPLQJRIPH" When one gets to know Gao Xiang better, one senses there is a deep yearning in him, a desire to escape into another world, a world hinging on our own, the dream world, the parallel universe. One can sense, that for Gao Xiang, only the world of painting truly exists.
A student at China's best-known art academy, the Central Academy of Fine Arts, Gao Xiang wrote his doctoral thesis on
The tianma FDSWXUHGWKH&KLQHVHLPDJLQDWLRQDQGWKH¿UVWEURQ]HV cast during the Han were copied endlessly and celebrated in verse and painting by Li Bai, Du Fu, Dong Qichang, Han Gan, and later modern masters such as Xu Beihong. Even foreign painters sensed the importance of the horse and horses became the subject of paintings by the Jesuit painter Guiseppe Castliglione as he attempted to court the Kangxi, Yongzheng, and Qianlong emperors. Many mythological kings, such as the King of Yao and Shun, are said to have ridden chariots pulled by celestial horses to visit various divinities including the Queen Mother of the West (Xiwangmu), who ruled over mortals from her domain in the Kunlun mountains. The significance and importance of the &KLQHVHKRUVHLVVXFKWKDWHYHQWKH;L DQWRPERIWKH¿UVWHPSHURU of China, Qin Shihuangdi, is flanked by two chariots pulled by half a dozen celestial horses. Gao Xiang’s horses are never entirely real. They are often green, a jade or leafy green or terracotta red, the burnt earth red of Yunnan, where the artist was born, the deep red of the blood-like sweat of the Ferghana horses, whose strange sweat was said to be due to an insect burrowing into the skin. They are passionate colors, living colors, more real than real because they produce a certain emotion. They remind me of a poem, by one of my favorite poets E.E. Cummings, an American sensualist and sensitive soul. He wrote: “All in green went my love riding on a great horse of gold into the silver dawn.” Colors for Gao Xiang are about feelings. His work is about feelings. Ink and oil for Gao Xiang are like mirror images of one another. He uses his oil brush lightly, like an ink brush, never too much pressure, always just the right amount of color, a fleeting moment between the brush and the canvas. His oils are like inks. Gao Xiang is a sensualist. He loves nature, he loves the universe. His male and female figures are tiny, overwhelmed by the immensity and the promise of the universe. They are in awe of the world.
It is the same for the horse. One feels that man and horse share a strange complicity. They too are one. They understand one another. Man whispers into nature’s ear as nature whispers into man’s ear. There exists a harmony, a secret harmony of living beings in the universe. Gao Xiang’s towers or pagodas of horses reaching into the heavens are extraordinary. They remind me of the huabiao at the Forbidden City, the shendaozhuor spirit columns, the traditional stone columns (not unlike totems) which represent the union between man and the heavens. This is the quintessential Jacob’s ladder. Gao Xiang loves horses. Of course, the horse itself is a very Chinese symbol. There is even a link to the silk culture. One legend tells of a girl who misses her father, who has been conscripted into the imperial army. She promises to marry the family horse if her father returns. Her father comes home and is horrified to hear that she is promised to the horse. He kills the steed. But the girl’s promise was a magical one and the girl is carried off by the horse’s hide. When her father sets out to VHDUFKIRUKHUKH¿QGVWKHJLUOLQWKHKRUVHKLGHWUDQVIRUPHGLQWR a silkworm inside a cocoon, weaving the most wonderful silk thread. Hence, the goddess of sericulture is horse-headed: Cai Nu or Matou Niangniang. The white dragon horse, Bailongma, is said to have brought the mystical Buddhist scriptures of the travelling monk Xuanzang to China. The heavenly horses, tianma , were the horses supposedly ridden and used by the Han dynasty emperor, Han Wudi. The emperor, a great warrior and leader, discovered the Ferghana stallion (from modern day Uzbekistan) known for its stamina and for its sweat, which resembled blood. When the Ferghana horse breeders refused to sell him the horses, he led an expedition in 104 BC to capture thousands of steeds, the mount of choice to fight the marauding Xiongnu tribes.
The tianma were so swift, they were rumored to be winged horses, heavenly scions in league with the constellations.
Gao Xiang’s way of seeing is undeniably Chinese. His soft touch
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is inherently Taoist or Buddhist, even Confucian.
He does not intend to interfere with the universe, only to experience it. He watches only to capture. He depicts only as an observer, a bystander. He is the eye. One day, I will ask him about his dreams and whether he dreams his work before painting it. In his canvases and works on paper, and even on his transparent sculptures, Gao Xiang seems to have a deep sense of the world, a spiritual sense of the universe. He has the kind of understanding of the world that comes not only from the eyes and the mind but also from a more profound place, fathomless–from the human heart.
Pia Camilla Copper (France) Curator and art critic February 2017, Paris
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䃰䃦᪳「̺䃫䄴
Selected Reviews and Interviews
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Each of them unquestionably carries the pictorial heritage of his native culture, and develops it with his own unique style. The dream-like characters of Gao Xiang emerge from an open space that is reminiscent of Chinese traditional paintings. He voluntarily restricted his palette to a few colors that stretch the spectrum to its maximum. Desgrandchamps revisits the figurative genre UDWKHUWKDQSDLQWLQJODQGVFDSHVDQG¿JXUHVDQGEULQJVXVIDFHWR face with these phantoms. Both of them invent worlds and play with their similarity to our known existence. Beyond their shared artistic concerns, Desgrandchamps and Gao Xiang also share a VLJQL¿FDQWV\PEROLF¿JXUH WKHKRUVHFRPHVXSUHJXODUO\LQWKHLU paintings, playing the role of a mysterious messenger. This important exhibition allows us to understand in depth the respective practices of these two great artists, thus linking two major aesthetic traditions. Each of them emerges revitalized and relevant to the changing contemporary world.
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)URPWKH¿UVWSUHIDFHWR7KH3RHWU\RI,OOXVLRQV 7KH'LDORJXH Exhibition of Marc Desgrandchamps and Gao Xiang" Paul Freches, Counselor for Culture, French Consulate in Shanghai September 2014
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