Cai Guo-Qiang - I Want To Believe
发起人:artabas  回复数:13   浏览数:11680   最后更新:2011/12/18 10:44:26 by Stevenj
[楼主] artabas 2008-08-17 18:38:27
Cai Guo-Qiang

Touring exhibition: I want to believe

First stop: Guggenheim Museum, New York
February 22 - May 28, 2008

2nd stop: National Art Museum of China, Beijing
August 19th to September 2nd

After designing the fireworks for the Olympic Games opening ceremony, the successful exhibition "I want to believe" by Cai Guo-Qiang which was held last February at the Guggenheim Museum in New York, will be presented at the National Art Museum of China
[沙发:1楼] artabas 2008-08-17 18:45:08

Guggenheim Museum
Exhibition view













[板凳:2楼] artabas 2008-08-17 20:39:44


CAI GUO-QIANG has literally exploded the accepted parameters of art making in our time. Drawing freely from ancient mythology, military history, Taoist cosmology, extraterrestrial observations, Maoist revolutionary tactics, Buddhist philosophy, gunpowder-related technology, Chinese medicine, and methods of terrorist violence, Cai’s art is a form of social energy, constantly mutable, linking what he refers to as “the seen and unseen worlds.” This retrospective presents the full spectrum of the artist’s protean, multimedia art in all its conceptual complexity. 


Born in Quanzhou, Fujian Province, China, in 1957, Cai studied stage design at the Shanghai Drama Institute. In the 1980s he emerged as a member of the burgeoning experimental art world of China’s postreform era. After moving to Japan in 1986, Cai tapped into a rich vein of international 20th-century art and critical thought. While living there, he mastered the use of gunpowder to create his signature gunpowder drawings and the related outdoor explosion events. These practices integrate science and art in a process of creative destruction and reflect Cai’s philosophy that conflict and transformation are interdependent conditions of life, and hence art. At once intuitive and analytical, his gunpowder drawings and explosion events are intrepid, conceptual, site specific, ephemeral, time based, and interactive—performance art with a new matrix of cultural meaning.


Cai has lived in New York since 1995. While increasing his participation in the global art system of biennials, public celebrations, and museum exhibitions around the world, Cai’s social projects engage local communities to produce art events in remote, nonart sites like military bunkers, a socialist utopianism influenced by Cai’s experience growing up in Mao Zedong’s Red China and during the Cultural Revolution of 1966–76. His recent work has expanded to include large-scale installations, allegorical and sculptural, that recuperate signs and symbols of Chinese culture and expose the dialectics of local history and globalization.


Designed by the artist as a site-specific installation, the Guggenheim’s exhibition presents art as a process that unfolds in time and space, dealing with ideas of transformation, expenditure of materials, and connectivity. The structure of Cai’s art forms are inherently unstable, but his social idealism characterizes all change, however violent, as carrying the seeds of positive creation. Subverting tropes such as East versus West, traditional versus contemporary, center versus periphery, Cai offers a new cultural paradigm for the art of a global age and expands the meaning of the phrase “I want to believe.”


Source: Guggenheim museum website

[地板:3楼] artabas 2008-08-18 10:51:35

[4楼] artabas 2008-08-18 11:24:30

[5楼] artabas 2008-08-18 11:32:44

Installation process at the guggenheim

On January 18, 2008, a team consisting of the artist Cai Guo-Qiang, members of his studio, full-time staff, and temporary installation crews of the Guggenheim Museum’s Curatorial, Art Services and Preparations, Registrar, Conservation, Fabrications, Construction, Multimedia, Lighting, and Exhibition Management departments began the month-long installation of Cai Guo-Qiang: I Want to Believe. The images here represent the technically challenging task of installing four of the exhibition’s works: Borrowing Your Enemy’s Arrows (1998), a suspended fishing boat pierced with approximately 3,000 arrows; Head On (2006), an arc of 99 life-size replicas of wolves that appear to be leaping head on into a glass wall; Inopportune: Stage One (2004), a series of nine cars, some of which are suspended from the top of the museum’s rotunda; and New York’s Rent Collection Courtyard (2008), a series of approximately 70 life-size sculptures.

source: Guggenheim museum website

[6楼] artabas 2008-08-18 11:46:35

Early Works: 1985-1988

Typhoon, 1985

[bSpace No.1
Kikoma Gallery, Tokyo, Japan - 1988

[7楼] artabas 2008-08-18 11:48:46

Human Abode: Project for Extraterrestrials No. 1
Fussa Minami Park and Kumagawa Shrine, Tokyo, Japan



45.5 Meteorite Craters Made By Humans on Their 45.5 Hundred Millions Year Old Planet: Project for Extraterrestrials No. 3

Pourrieres, Aix en Provence, France 1990


[8楼] admin 2008-08-18 12:04:32

A Certain Lunar Eclipse: Project for Humanking No. 2
P3 Art and Environment, Tokyo, Japa

Bigfoot"s Footprints: Project for Extraterrestrials No. 6
P3 art and environment, Tokyo, Japan, 1991

Primeval Fireball: The Project for Projects P3 art and environment, Tokyo, Japan, 1991

The Vague Border at the Edge of Time/Space Project
P3 art and environment, Tokyo, Japan

[9楼] admin 2008-08-18 12:06:30

Parting the Sea
Moderna Museet, Stockholm, Sweden, 1998



[10楼] artabas 2008-08-18 14:22:26

Head on

Inopportune, Stage one

Inopportune, Stage two

[11楼] artabas 2008-08-18 14:26:45


An arbitrary history, 2001

[12楼] artabas 2008-08-18 14:35:11

Everything is Museum No. 2: Who is the happiest?
UMoCA Inaugural Exhibition with Ni Tsai Chin
UMoCA, Colle di Val d"Elsa, Italy