Hu Xiangqian

Before the Beginning and After the End II

Tianzhuo Chen, Hu Xiangqian, Ran Huang, Liu Wei, Wang Jianwei, Wu Shanzhuan, Inga Svala Thorsdottir & Wu Shanzhuan, Xu Zhen, Xu Zhen produced by MadeIn Company, Zhan Wang, Zhang Hui, Zhou Xiaohu, Zhu Yu

2016.9.17-11.27

Long March Space, Beijing

 

Before the Beginning and After the End II

Hu Xiangqian: A Performance a Day Keeps the Doctor Away

2015.6.6 – 8.9
Long March Space, Beijing

 

Hu Xiangqian: A Performance a Day Keeps the Doctor Away

Before the Beginning and After the End

Chen Chieh-jen, Hu Xiangqian, Ran Huang, Wang Jianwei, Wang Sishun, Xu Zhen produced by MadeIn Company, Zhou Xiaohu
2014.9.2 – 11.2
Long March Space, Beijing

 

Before the Beginning and After the End

Hu Xiangqian: Protagonist

2012.7.1 – 8.12
Long March Space, Beijing

 

Hu Xiangqian: Protagonist
 

Other Lives of the Alternative Spaces

Hu Xiangqian

TAIKANG SPACE, Beijing, China

2019.6.27–2019.8.24

Other Lives of the Alternative Spaces

Remapping Reality— Selected Video Collection from Wang Bing

Ran Huang, Hu Xiangqian

OCAT Shanghai, Shanghai, China

2019.3.23−2019.6.16

Remapping Reality— Selected Video Collection from Wang Bing

DANCE WITH IT

Hu Xiangqian

TAIKANG SPACE, Beijing, China

2018.12.13−2019.3.2

DANCE WITH IT

chin(A)frica: an interface

Hu Xiangqian

The Institute of Fine Arts (The Duke House), New York, USA

2017.10.18 – 2018.2.18

 

chin(A)frica: an interface

Reciprocal Enlightenment

Hu Xiangqian
2017.1.14-2.19
CAFA Art Museum, Beijing, China

Reciprocal Enlightenment

The Shanghai Biennale: Why Not Ask Again: Arguments, Counter-arguments, and Stories

Tianzhuo Chen, Hu Xiangqian, Liu Wei

2016.11.12-2017.3.12

Power Station of Art, Shanghai, China

The Shanghai Biennale: Why Not Ask Again: Arguments, Counter-arguments, and Stories

Portrait Portrait

Hu Xiangqian

2016.9.8-2017.1.7

Taipei Contemporary Art Center, Taipei

Portrait Portrait

Share/Cheat/Unite

Hu Xiangqian

2016.8.13-10.23

Te Tuhi,  Auckland, New Zealand

Share/Cheat/Unite

Ensemble without Organs

Hu Xiangqian,  “Xu Zhen”

2016.7.7-7.24

Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba

Ensemble without Organs

The Exhibition of Annual of Contemporary Art of China 2015

Tianzhuo Chen, Hu Xiangqian, Liu Wei, Zhu Yu

2016.6.25-8.22

Beijing Minsheng Art Museum, Beijing, China

The Exhibition of Annual of Contemporary Art of China 2015

What About the Art? Contemporary Art from China

Hu Xiangqian, Liu Wei, Wang Jianwei, Xu Zhen produced by MadeIn Company
2016.3.14 – 7.16
Qatar Museums Gallery Al Riwaq, Doha, Qatar

What About the Art? Contemporary Art from China

Bentu, Chinese artists in a time of turbulence and transformation

Hu Xiangqian, Liu Wei, Xu Zhen produced by MadeIn Company

2016.1.27 – 5.2
Fondation Louis Vuitton, Paris, France

Bentu, Chinese artists in a time of turbulence and transformation

Mobile M+: Live Art

Hu Xiangqian
2015.12.4 – 12.20
Sheung Wan Civic Centre, Connecting Space, Hong Kong, China

Mobile M+: Live Art

15 Rooms

Hu Xiangqian, Xu Zhen
2015.9.25 – 11.8
Long Museum, Shanghai, China

15 Rooms

Asian Art Biennial: Artist Making Movement

Hu Xiangqian
2015.9.19-12.6
National Taiwan Museum of Fine Art, Taiwan, China

Asian Art Biennial: Artist Making Movement

Back Home, Run Away: A Sample of Artistic Geography

Hu Xiangqian
2015.6.18 – 8.15
Taikang Space, Beijing, China

Back Home, Run Away: A Sample of Artistic Geography

Essential Matters – Moving Images from China

Hu Xiangqian, Ran Huang
2015.4.4 – 8.23
Borusan Contemporary, Istanbul, Turkey

Essential Matters - Moving Images from China

Gwangju Biennale: Burning Down the House

Hu Xiangqian
2014.9.5 – 11.9
Gwangju Biennale, Gwangju, South Korea

Gwangju Biennale: Burning Down the House

The Power of the Public Realm

Chen Chieh-jen, Hu Xiangqian, Liu Wei, Wang Jianwei, Yang Shaobin
2014.6.25 – 10.10
Beijing Minsheng Art Museum, Beijing, China

The Power of the Public Realm

My Generation: Young Chinese Artists

Hu Xiangqian, Ran Huang, Xu Zhen produced by MadeIn Company
2014.6.7 – 9.28
Tampa Museum of Art, Florida, USA

My Generation: Young Chinese Artists

Rubell Family Collection: 28 Chinese

Hu Xiangqian, Ran Huang, Liu Wei, Xu Zhen produced by MadeIn Company

2013.12.4 – 2014.8.1

Rubell Family Collection, Miami, China

 

Rubell Family Collection: 28 Chinese

Hu Xiangqian: A Looks Like B

Hu Xiangqian
2013.3.20 – 4.30
Arrow Factory, Beijing, China

Hu Xiangqian: A Looks Like B

Sharjah Biennial: Re:emerge, Towards a New Cultural Cartography

Hu Xiangqian, Liu Wei, Wang Jianwei, Yang Shaobin, Zhang Hui
2013.3.13 – 5.13
Sharjah Biennial, Sharjah, UAE

Sharjah Biennial: Re:emerge, Towards a New Cultural Cartography

Baltic Triennial of International Art: Mindaugas

Hu Xiangqian
2012.8.24 – 9.9
Baltic Triennial of International Art, Lithuania

Baltic Triennial of International Art: Mindaugas
 

胡向前 天天表演 身体健康

2016.09_艺术世界_胡向前 天天表演 身体健康_by蔺佳

【AAC艺术人物】胡向前:表面已经足够发现所有

2016.05.10_雅昌艺术网_by 熊晓翊

Hu Xiangqian:A Performance A Day Keeps the Doctor Away

2015.08.06_randian_by Yuan Fuca

胡向前:天天表演 身体健康

2015.07.20_artforum.com_胡向前:天天表演 身体健康_by 杨北辰

胡向前:艺术是表演出来的

2015.0708_Hi艺术_by 史伟

对自我身体的管理与操演(胡向前)

2015.07_艺术世界_by 栾志超

我们在看什么展、什么表演?(胡向前)

2015.07_东方艺术·大家_by 白江峰

当感性假借理性掩面而示(胡向前、王思顺)

2012.09_东方艺术大家_王胤

 

[News] Hu Xiangqian, Xu Zhen, 15 Rooms, Long Museum, Shanghai

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[Exhibitions] Hu Xiangqian: A Performance A Day Keeps the Doctor Away, Long March Space, Beijing

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[Exhibitions] Hu Xiangqian: A Performance A Day Keeps the Doctor Away, Long March Space, Beijing (Preview)

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download exhibition history

 

“For me, performance has always been an important way for me to look at myself objectively. Because I have a pair of eyes above me, hanging in the air watching me at all moments. It is as if there was someone else watching me, like an onlooker watching me, reality becomes a stage, a performance during which I care about nothing else at all.”

–Hu Xiangqian

 

Hu Xiangqian (b. 1983) was born in Leizhou, Guangdong Province and graduated in 2007 from Guangzhou Academy of Fine Arts. He currently lives and works in Beijing. Hu’s artistic practice is grounded in performance and video works documented with an intentional amateurishness and crudeness. His inspirations and motivations arise from his immediate surroundings, his intuition, and his artistic contemplation of what it means to be an artist. His work highlights the contrasts in our society and amplifies minor incidents into major social signifiers. In his words, he does not consider what he does to be the making of performance art; rather he focuses on the act of performing itself. He bluntly and genuinely pursues possibilities of experiencing an intangible reality. Through their absurd characteristic, his works are often very humorous whether it is his months-long attempt to tan his skin the same shade as his African friends in Guangzhou in Sun (2008), or the ubiquitous green man and red man of pedestrian traffic lights dancing together on the street in Two Men (2008).

 

His earliest work to gain widespread recognition was the 2006 video piece Blue Flag Waving, which documents Hu’s campaign for a seat during an election in his hometown. Though he was never an eligible candidate, he carried out a real campaign and devised a real agenda on how to address the social issues facing the village. The campaign he held is the artwork, accompanied by video documentation of the fake candidate’s attempt to run for office.

 

Xiangqian Museum (2010-2012) is a collection of artworks that exist in Hu’s mind. Selected artworks from the museum’s collection are presented and performed through the artist’s body in the format of a curated group show, solo show, or even permanent museum collection. Xiangqian Museum is non-materialistic. The artist believes that art exists through his performance without physical form, as he said: “I think the best thing about art is that we are able to carry it around wherever we go.”

 

Hu adopts elements of Opera in The labor Song I Night (2012), particularly in the exaggerated vocal and physical gestures of the actors in the video. Fitted in bespoke costumes made to resemble a grand version of the uniforms commonly seen on security guards of a typical upper-middle class apartment compound in China, the actors are crammed into a small security booth, delivering an operatic performance that appears to be ludicrous. The content of the “opera” revolves around the generic but popular theme of dreams and reality permeated with a sense of helplessness, but in the end, the contradiction between one’s dream and reality gets resolved.

 

Speech at the Edge of the World (2014) is the video work that was shown for the first time at the 10thGwangju Biennale. In the video, Hu delivers an inspirational speech to an audience of two thousand middle and high school students in his native Leizhou dialect on the outdoor sports ground of the artist’s alma mater in Leizhou, a small village at the southern tip of Guangdong province. The speech lasts a little more than ten minutes. Hu takes elements and techniques from “motivational speeches”, for example, the tonal adjustment of the voice, the hand gestures, when to pause…,and adapts them to his style. He draws from his personal experience growing up on the Leizhou Peninsula (the locals nicknamed it “the world’s end”), speaking passionately about the importance of acquiring knowledge and the endless possibilities of life beyond the village.

 

In his latest major work Reconstructing Michelangelo (2015), Hu ponders: Can one train a performance artist? Hu began working and living with an apprentice a year ago resulting in a six channel video installation, an artistically edited representation of a “training program” where the spirit, knowledge, experience, and physical fitness of what Hu thinks makes a performance artist were passed on to the apprentice. The artist created a scenario where, on a daily basis, he was required to rethink the essential questions, what does it mean to perform, and what does it mean to be an artist?

 

In the same year, Hu also created the work The Secret Mission (2015). His interest in period/costume dramas prompted him to shoot his own. However, he often questioned the purpose of shooting yet another period drama when there already existed a vast assortment of good and bad films of this kind. Although he didn’t have an answer to his question at the time, he felt it was necessary to follow through with his plans. During the editing period, he finally found an answer to his question; he was doing a performance piece that took the form of filming a period drama and therefore attesting that performance works can truly overcome the constraints of space and time.

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