Zhan Wang

Zhan Wang: Objects of Idea

2020.7.25–10.18

Long March Space, Beijing

Zhan Wang: Objects of Idea

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

Zhan Wang: morph

2014.11.20 – 2015.2.2
Long March Space, Beijing

 

Zhan Wang: morph

Zhan Wang: Form of the Formless

2012.10.26 – 12.2
Long March Space, Beijing

 

Zhan Wang: Form of the Formless

Zhan Wang: My Personal Universe

2011.11.26-2012.2.25

Ullens Center for Contemporary Art, Beijing

Zhan Wang: My Personal Universe

Long March Capital III: Visual Economy

Chen Jie, Chen Qiulin, Guo Fengyi, Hong Hao, Jiang Jie, Lin Tianmiao, Liu Wei, Ma Han, Mu Chen and Shao Yinong, Qin Ga, Qiu Zhijie, Shi Qing, Wang Gongxin, Xiao Lu, Xiao Xiong, Xu Zhen, Yu Hong, Yang Shaobin, Yang Zhenzhong, Zhu Yu, Zhan Wang, Zhang Hui, Zhou Xiaohu
2008.5.17 – 8.25
Long March Space, Beijing

 

Long March Capital III: Visual Economy

Zhan Wang: 86 Divinity Figures

2008.5.13 – 6.4
Long March Space, Beijing

 

Zhan Wang: 86 Divinity Figures

Long March Capital

Chen Qiulin, Chen Xiaoyun, Deng Dafei, Guo Fengyi, He Jinwei, Hong Hao, Jiang Jie, Jin Zhilin, Li Qiang, Li Tianbing, Li Shurui, Li Zhenhua, Lin Tianmiao, Liu Ding, Liu Liping, Ma Liuming, Liu Wei, Song Yonghong, Qin Ga, Qiu Zhijie, Shao Yinong+Mu Chen, Wang Jingsong, Wang Mai, Xiao Xiong, Yu Hong, Zhan Wang, Zhuang Hui

2006.2.11 – 7.2

Long March Space, Beijing

 

Long March Capital

The New Long March Space Inaugural Exhibition

Guo Fengyi, Hong Hao, Li Tianbing, Liang Suo, Liu Chengying, Liu Wei, Qin Ga, Shi Qing, Sui Jianguo, Wang Mai, Wang Jinsong, Wang Wei, Wang Wenhai, Xiao Xiong, Yu CongRong+MaLimei, Zhan Wang, Zhou Xiaohu

2005.1.30 – 3.20

Long March Space, Beijing

 

The New Long March Space Inaugural Exhibition
 

The Allure of Matter: Material Art from China

Liu Wei, Zhan Wang

Smart Museum of Art and Wrightwood 659, Chicago

2020.2.7–2020.5.3

The Allure of Matter: Material Art from China

The Allure of Matter: Material Art from China

Zhan Wang

LACMA, Los Angeles, USA

2019.6.2–2020.1.5

The Allure of Matter: Material Art from China

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

Modern Time

Wang Jianwei, Xu Zhen, Yu Hong, Zhan Wang

Ullens Center for Contemporary Art, Beijing, China

2018.5.26 – 6.1

Modern Time

Modern Time

Wang Jianwei, Xu Zhen, Yu Hong, Zhan Wang

Modern Art Base, Shanghai, China

2018.5.11 – 5.17

 

Modern Time

Harbour Arts Sculpture Park

Zhan Wang

Tamar Park, Hong Kong, China

2018.2.22 – 4.11

Harbour Arts Sculpture Park

Discordant Harmony: Observations of Artistic Practices in East Asia at the Transition between the 1980s and the 1990s

Chen Chieh-jen, Zhan Wang
Beijing Inside-Out Art Museum, Beijing, China

2017.11.4 – 2018.2.4

Discordant Harmony: Observations of Artistic Practices in East Asia at the Transition between the 1980s and the 1990s

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

4th Documentary Exhibition of Fine Arts/Stress Field

Zhan Wang

Hubei Museum of Art, Wuhan, China

2017.9.15 – 2017.10.20

4th Documentary Exhibition of Fine Arts/Stress Field

Zhan Wang: Forms in Flux

2017.6.25-8.22

Long Museum (West Bund), Shanghai, China 

Zhan Wang: Forms in Flux

Honolulu Biennial: Middle of Now | Here

Zhan Wang

2017.3.8-5.8

Honolulu, USA

Honolulu Biennial: Middle of Now | Here

Zhan Wang: Nothing for the Time Being

Zhan Wang
2015.10.25 – 2016.1.23
OCAT Shanghai, Shang Hai, China

Zhan Wang: Nothing for the Time Being

China 8 – Contemporary Art From China at Rhine & Ruhr

Yang Shaobin, Yu hong, Zhan Wang
2015.5.15-9.13
Rhine & Ruhr, Germany

China 8 - Contemporary Art From China at Rhine & Ruhr
 

展望: 要站在人的角度去创作

2016.10_Hi艺术_展望 要站在人的角度去创作_by 朱赫

展望工作室

2016.04_Artnow

展望:别对这个世界太自以为是

2015.03_目标_by 展望

Zhan Wang Long March Space/Beijing

2015.02.24_Flash Art_by Venus Lau

The Future Remains Unknown(Zhan Wang)

2015.01_艺术商业

形”之外的逻辑 展望个展:应形

2015.01_艺术客

Zhan Wang:”Morph”

2015.01_LEAP_Lida Zeitlin Wu

展望阅读米开朗基罗

2015.01_芭莎艺术

展望:着魔

2015.01_新视线

 

Zhan Wang: Forms in Flux

Ed. Feng Jiao, Hsinke Lee, Zhan Wang: Forms in Flux, exh. cat. (Beijing: China Federation of  Literary and Art Circles Publishing House, 2018)

Chinese and English language with texts by Zhan Wang, Fumio Nanjo, Wang Wei

Zhan Wang: Forms in Flux

Zhan Wang: Morph

Zhan Wang: Morph, exh. cat. (Beijing: Long March Space, 2015)

Chinese and English language with text by Zhan Wang, Wu Hung

Zhan Wang: Morph

Zhan Wang: The New Suyuan Stone Catalogue

Ed. David Tung, Sheryl Cheung, Zhan Wang: New Suyuan Stone Catalogue (Beijing: Long March Space; Milan: Edizioni Charta, 2011)

English language with texts by Zhan Wang, Wu Hung

 

Zhan Wang: The New Suyuan Stone Catalogue
 

[Artist] Zhan Wang: The world is just such a mirror, we all see ourselves in it, distorted

Courtesy of SOLA

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Courtesy of SOLA

[Artist] Zhan Wang: A Universe Created For You

Courtesy of Cc Foudation & Art Centre
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Courtesy of Cc Foudation & Art Centre

[Exhibition] Zhan Wang: Forms in Flux, Long Museum, Shanghai

Courtesy of Knews
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Courtesy of Knews

[Exhibition] Zhan Wang: morph, Long March Space, Beijing

Courtesy of Action Media

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Courtesy of Action Media

[Exhibitions] Zhan Wang: morph, Long March Space, Beijing

Courtesy of Action Media
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Courtesy of Action Media

 

download exhibition history

 

“The surface is everything”                    

–Zhan Wang

 

Zhan Wang was born in 1962 in Beijing, China. In 1996 he graduated from the sculpture department of the Central Academy of Fine Arts (CAFA) and he currently lives and works in Beijing where he teaches sculpture at CAFA. Zhan Wang is considered as one of the most important contemporary artists in China whose artistic creations touch upon sculpture, installation, actions, photography and video. Zhan Wang’s practice is firmly rooted in the culture by which he has been surrounded with over the course of his life and traditional Chinese understanding, whilst at the same time attempting to interpret the features of traditional culture from an individual perspective and by means of a distinctive creativity deduce anew and poetically transpose the effects of history, traditions, the spirit, the natural world onto the human situation and perceptions via his works by enfolding subject matter fromurbanization, artificial simulation and industrialization, alongside the materials used in the works themselves which lead to the creation of an entirely different connotation.

 

From the beginning of his career in art in the 1990s when he was a studying sculpture at the Central Academy of Fine Arts, Zhan Wang’s creations already began to gradually free themselves from the traditional socialist realism of Chinese 20th century sculpture. In “….. — …” (1994-2002) series, Mao jackets were contorted into fantastically transformed empty shells, a road of exploration following desires, transformation, and deconstruction. In these works, one can see how Zhan Wang was not constricted by the existing conceptual confines of art, installation and sculpture. In 1995, Zhan Wang began work on his most well-known series: “Artificial Rocks” (1995-present). “Artificial Rocks” is Zhan Wang’s attempt to simulate the most representative natural objects, for which he chose the ‘Taihu stone’ commonly seen in classical Chinese gardens, and used stainless steel boards to copy their exterior form. The quality of the stainless steel material of the “Artificial Rocks” in its ability to reflect the exterior world has always attracted Zhan Wang all the way until 2004 when he set about work on his “Mirrored Garden” series (2004-2005) of photographic works. Zhan Wang’s interest in materials such as stainless steel and other reflective surfaces reached its most sublime level in the series “Urban Landscape” (2002-2005), for which he selected the representatively global cities such as Beijing, London, Chicago, and San Francisco and tried to elicit their form through stainless steel cooking utensils and tableware, day-to-day familiar objects transformed into a gleaming shimmering metropolis. By incorporating the quotidian and the spectacular, and the variegated relationships between the individual and the city, the work also projected the artist’s own ingenious reflections on the fast-paced modernization of contemporary societies.

 

In addition to the aforementioned works, Zhan Wang sends his stainless steel stones upon different journeys in order to augment their original conceptual meaning: to the high seas in Floating Rock Drifts on the Open Sea(2000), on a journey into outer space in New plan to fill the sky(2002), into divine realms for Mount Everest(2004) or in the sketches drawn down to mark the creative processes for each artificial stone in New Suyuan Stone Catalog(2007).

 

In his later solo shows, Zhan Wang would begin to expound upon the embodiment of nature’s vitality through its destructive power. Suyuan Stone Generator1 Hour Equals 100 Million Years(2010,Today Art Museum) was a large-scale machine created in collaboration with engineers, in which scientists and geographers copied the five elements of nature and within the space of an hour created a ‘scholar rock’. My Personal Universe(2011)took the explosion of a massive boulder and by means of high-speed photograph images recorded the moment of explosion, and recreated the more than 7000 individual pieces of rubble in stainless steel, suspending them from the ceiling of the exhibition space (Beijing’s Ullens Center for Contemporary Art). Just as at the original moment of explosion, this project was inspired as a retracing of the beginning of the universe. For Zhan Wang, it was also a search for the original source of form and concept, whereas his solo exhibition held the following year at Long March Space “Form of the Formless “reflected upon the purity of form of these similar conceptions.

 

Zhan Wang, who extensively employs a panoply of artistic media is still unable to fully abandon his identity as a sculptor. One can detect from the four Silhouette sculptures from his 2014 solo show “Morph” (2004-2014), in how Zhan Wang using the hands and labor of a traditional sculptor, transforms two-dimensional material into a three-dimensional existence. “Morph “, while following in the same vein as his earlier works “Mao Suit” 、“Artificial Rock” and “Flowers in the mirror”, also simultaneously attempts to crack through the conventions usually associated with the expressive content of sculpture, remedying the gap between ‘image’ and ‘form’.

 

Zhan Wang’s artworks continue to be collected and favored by many important Chinese and overseas museums and public institutions, such as the National Museum of China, the British Museum, New York’s Metropolitan Museum of Art, the Los Angeles Museum of Contemporary Art,; Boston Museum of Fine Arts, , the Cantor Arts Center at Stanford University, the Fondation Louis Vuitton, the National Museum of Scotland, the Shiodome Museum in Tokyo, the Mori Art Museum, and the Busan Museum of Modern Art etc.

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