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An Appreciation
1992
Cibachrome
124.9 × 152.7 cm
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Pouring Bottled Water into the Victoria Harbour
1993
Cibachrome
124.5 × 181.7 cm
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Posing for Swimming
1994
Cibachrome
125.3 × 124.6 cm
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Picnic
1995
Cibachrome
124.7 × 124.7 cm -
When There is Nothing in Map of the World
1995–2008
Acrylic on canvas
140 × 190 cm
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Showing China From Its Best Side(s) -95
2005
Acrylic on canvas
100 × 200 cm
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The Making of Vege-Pleasure
1996
VHS video
17 m 38 s -
Vege-Pleasure
1996
Cibachrome
152.6 × 124.8 cm
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Vege-Words Chinese Version
2006
Acrylic on canvas275 × 200 cm
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Thing’s Right(s) Printed 2013, Article 1
2013
Lithography, screen print on Stonehenge paper
55.5 × 73 cm
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Thing’s Right(s) Printed 2013, Article 4
2013
Lithography, screen print on Stonehenge paper
55.5 × 73 cm
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Thing’s Right(s) Printed 2013, Article 16
2013
Lithography, screen print on Stonehenge paper
55.5 × 73 cm -
When the Flame Thrower Becomes a Pattern (Green Tone)
2013
Acrylic on canvas
214.5 × 135.5 cm
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Bridge The Big Brackets
2015
Red oak, matte varnish
Artwork: 74 × 268 × 68 cm
Plinth: 121 × 290 × 94 cm
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Circle Vibration (The Big Brackets)
2016
Oil on canvas76 × 56 cm
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Circle Vibration (The Perfect Brackets)
2016
Oil on canvas
76 × 56 cm
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Fielding (The Little Brackets)
2016
Oil on canvas
206 × 154 cm
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Circle Vibration (The Little Brackets)
2016
Oil on canvas
76 × 56 cm
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Myriad (The Middle Brackets)
2016
Oil on canvas
120 × 120 cm
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Cause In Projection
2017
Red oak, plywood with red oak veneer, matte varnish
401.3 × 163.2 × 163.2 cm
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Cause In Perspective
2017
Red oak, plywood with red oak veneer, matte varnish
401.3 × 163.2 × 163.2 cm
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Seven in One
2017
Red pear wood, red oak, Thai teak, maple wood, sapele wood, white ash wood, black walnut wood, matte varnish
Artwork (overall): 288 × 341 × 30 cmEach: 47.7 × 39.6 × 2.8 cm
Plinth: 370 × 476 × 25 cm
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Perimeter Hollowed (The Perfect Brackets)
2017
Brass
Artwork: 34 × 34 × 34 cm
Plinth: 13.5 × 48 × 48 cm
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Enclosure
2017
Black iron, red oak with matte varnish, black iron adapting piece
Artwork: 116 × 112 × 8 cm
Plinth: 97.5 × 156 × 72 cm
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Arch
2017
White ash wood with matte varnish
Artwork: 327.6 × 176 × 152.5 cm; Plinth: 25.5 × 209 × 240.5 cm
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Beam
2018
Aluminum alloy120 × 28 × 16 cm
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Perfect Brackets × The Cardioid
2018
Acrylic on canvas
240 × 400.5 cm
Inga Svala Thorsdottir + Wu Shanzhuan: from paper to paper
Curator: Liu Tian
2023.11.4 – 2024.6.2
Long March Space, Beijing
Steadfastly Revise for the Standards in Nonproductive Construction (Part I: Solid Molds)
Curator: Evonne Jiawei Yuan
Artists: Chen Wei, Cui Jie, Liu Ren, Liu Wei, Lu Lei, Inga Svala Thorsdottir & Wu Shanzhuan, Joey Xia, Zeng Jiahui
2022.12.17–2023.2.19
Long March Independent Space
Long March Project: Building Code Violations III – Special Economic Zone
2018.7.21 – 8.26
Long March Space, Beijing, China
Inga Svala Thorsdottir & Wu Shanzhuan: CAUSE AND EXAMPLES PROJECTED FROM IT
2017.5.27 – 10.8
Long March Space, Beijing
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
Inga Svala Thorsdottir & Wu Shanzhuan: kuo xuan
2011.10.20 – 2012.1.20
Long March Space, Beijing
Thousand-Armed Guanyin
Inga Svala Thorsdottir & Wu Shanzhuan
Red Brick Art Museum, Beijing
2019.7.19−2019.10.13
Two Houses: Politics and Histories in The Contemporary Art Collections of John Chia and Yeap Lam Yang
Inga Svala Thorsdottir & Wu Shanzhuan
LASALLE's Institute of Contemporary Arts Singapore, Singapore City, Singapore
2018.7.21 – 10.10
Tales from the Taiping Era
Chen Chieh-jen, Wang Jianwei, Inga Svala Thorsdottir & Wu Shanzhuan
2014.5.23 – 8.24
Red Brick Art Museum, Beijing, China
Inga Svala Thorsdottir & Wu Shanzhuan: What A Form: A Reportage
Inga Svala Thorsdottir & Wu Shanzhuan
2013.5.21 – 7.21
Shenzhen OCAT, Shenzhen, China
Surplus Authors
MadeIn Company, Inga Svala Thorsdottir & Wu Shanzhuan
2012.9.5 – 2013.1.6
Witte de With Center for Contemporary Art, Rotterdam, The Netherlands
高士明：今天，后来成了节日
2019_凤凰艺术_高士明：今天，后来成了节日_文/高士明
Wu Shanzhuan Today Became a Holiday
2018_ArtAsiaPacific_Wu Shanzhuan_Today Became a Holiday_By/HG Masters
秦思源：吴山专和英格-斯瓦拉·托斯朵蒂尔
017_Frieze_吴山专和英格-斯瓦拉•托斯朵蒂尔_文/秦思源
关于某物的报告
2013_国家美术_关于某物的报告_文/深圳OCT当代艺术中心
红砖上的呓语狂欢
2014_颂雅风艺术月刊_红砖上的呓语狂欢_文/李蟠
生长中的展览
2014_艺术新闻_生长中的展览.pdf
An Anarchist Structure Wu Shanzhuan & Inga Svala Thorsdottir’s Thing’s Right(s) etc.
2010.10_China Academic of Art Press(Hangzhou)_But Still Red_An Anarchist Structure Wu Shanzhuan & Inga Svala Thorsdottir's Thing's Right(s) etc._Gao Shiming
Martina Koppel-Yang: Social Utopias by Two Islanders: A Conversation with Inga Svala Thorsdottir and Wu Shanzhuan
2005_Wu Shanzhuan Red Humour International in collaboration with Inga Svala Thorsdottir Thor’s Daughter’s Pulverization Service, artist catalogue (Hong Kong: Asia Art Archive)
关于自由的一些事和物
2005_吴山专 国际红色幽默_关于自由的一些事和物_文/诺曼•布莱森_译/袁昭
[Exhibition] INGA SVALA THORSDOTTIR & WU SHANZHUAN: CAUSE AND EXAMPLES PROJECTED FROM IT, LONG MARCH SPACE, BEIJING
[Exhibition] INGA SVALA THORSDOTTIR & WU SHANZHUAN: CAUSE AND EXAMPLES PROJECTED FROM IT, LONG MARCH SPACE, BEIJING
[Exhibition] Before the Beginning and After the End II, Long March Space, Beijing
Courtesy of ARTSPY
Watch on YOUKU.COM
Courtesy of ARTSPY
Wu Shanzhuan (b. 1960) was born in Zhoushan and currently lives and works in Hamburg and Shanghai. In 1986, he graduated from the Zhejiang Academy of Fine Art and Hochschulefürbildende Künste in 1995. During this period, he also founded Red Humour in 1985 and Red Humour International in 1990.
Inga Svala Thorsdottir (b. 1966) was born in Iceland. In 1991, she graduated from the Painting Department of the Icelandic School of Arts and Crafts and Hochschulefürbildende Künstein 1995. She also founded Thor’s Daughter’s Pulverization Service in 1993 and BORG in 1999.
Wu and Thorsdottir have been working and exhibiting collaboratively since 1991 and are both currently living and working in Hamburg and Shanghai. Their collaborations began during a visit to the Moderna Museet in Stockholm when Wu decided to illicitly pee into Marcel Duchamp’s urinal while Thorsdottir took photographs to document the act; this work was entitled An Appreciation (1991). They found in each other to be kindred spirits who were both humorously attempting to change society’s human-centred worldview, thereby saving humanity.
