Wu Shanzhuan

Wu Shanzhuan: Today Became a Holiday

2019.3.16 – 10.13

Long March Space, Beijing, China

Wu Shanzhuan: Today Became a Holiday

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

ACT►TION

Chen Chieh-jen, Ran Huang, Liu Wei, MadeIn Company, Wang Jianwei, Wu Shanzhuan, Xu Zhen, Zhou Xiaohu
2011.6.25 – 8.28
Long March Space, Beijing

 

ACT►TION

Long March Project: Ho Chi Minh Trail

Chen Chieh-jen, Liu Wei, MadeIn Company, Wang Jianwei, Wu Shanzhuan, Zhang Hui

2010.9.4 – 11.14

Long March Space, Beijing

 

Long March Project: Ho Chi Minh Trail
 

Awakenings: Art in Society in Asia 1960s–1990s

Chen Chieh-jen, Wu Shanzhuan

National Gallery Singapore, Singapore

2019.6.14–2019.9.15

Awakenings: Art in Society in Asia 1960s–1990s

Turning Point – 40 Years of Chinese Contemporary Art

Liu Wei, Wu Shanzhuan, Xu Zhen®, Yu Hong, Zhan Wang, Zhao Gang

Long Museum West Bund, Shanghai, China

2018.6.6 – 10.7

Turning Point - 40 Years of Chinese Contemporary Art

Art and China after 1989: Theater of the World

Chen Chieh-jen, Liu Wei, Lu Jie(Long March Project),  Wang Jianwei, Wu Shanzhuan, Xu Zhen, Xu Zhen produced by MadeIn Company, Yu Hong, Zhan Wang, Zhao Gang

Solomon R. Guggenheim Foundation, New York, USA

2017.10.6 – 2018.1.7

Art and China after 1989: Theater of the World
 

“Everyone Has the Right to Refuse to be an Artist”: A Dialogue with Wu Shanzhuan

2015.03_POST_by Yu-Chieh Li, Wu Shanzhuan

反架上的尝试 & 吴山专与“红色幽默”系列

2015.01_颂雅风艺术月刊

Exhibition and the Making of Recent Art History in Asia(Wu Shanzhuan)

2014.05_YISHU

Panel Discussion:Exhibition as Site-Extended Case Study(Wu Shanzhuan)

2014.05.06_YISHU_by Wu Shanzhuan

“每个人都应该有自己的那条通往杜尚的路径”讨论课

2010.10.29_当代艺术与社会思想研究所_每个人都应该有自己的那条通往杜尚的路径(吴山专 & 英格-斯瓦拉·托斯朵蒂尔)

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[Exhibition] Before the Beginning and After the End II, Long March Space, Beijing

Courtesy of ARTSPY
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Courtesy of ARTSPY

 

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“We believe that what we know now is more important than what we do not know. We believe that our understanding (knowledge) of things, allows us to use things any way we choose, forgetting that we ourselves are also things…”

–Wu Shanzhuan about “Thing’s Right(s)”

 

Wu Shanzhuan (b. 1960) was born in Zhoushan and currently lives and works in Hamburg, Reykjavik and Shanghai. He graduated from the Zhejiang Academy of Fine Art in 1986 and Hochschulefürbildende Künste in 1995. In 1990 he started his “Red Humour International” series and has been working and exhibiting collaboratively with Inga Svala Thorsdottir (b. 1966) as Thor’s Daughter Pulverization Service and Red Humour International since 1991. As one of the major conceptual artists to emerge from the ’85 New Wave Art Movement in China, Wu’s work has played an integral role in redefining both the nature of language in art and the ontological connotations of art itself. His work questions the nature and meaning of art as a concept and as physical objects during a time when commercialism and commodification are drastically shaping the world. Supermarkets, logos, slogans, and everyday objectsoften make their way into his work. Primarily working as an installation artist, Wu, in the words of the critic Gao Minglu, is a “conceptualist with an attitude of anti-conceptualisation in art”.

 

Wu’s work was first brought to international attention by his “Red Humour Series” (1985) andhis 1986 installation 75% Red, 20% Black, 5% White. The installation reassessed the visual language of the Cultural Revolution by juxtaposing political slogans, big-character posters, his made-up ‘deficit’ characters (chizi), and random pieces of text to create an installation made up of words with virtually no meaning political or otherwise. The artwork, like the words used to create it, is incomprehensible and therefore reduced to its purelyphysical existence, rendering it a tabula rasa of endless possibilities. Although Wu’s earlier work primarily examined the meaning and meaninglessness of language and political slogans, his concerns later shifted toward the issues of semiotics and the nature of identity. For Wu, identity must be seen both in terms of personal identity as well as how we identify and think about objects separate from our preconceived, culturally constructed notions of them.

 

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