The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu
2015.07.24～2015.09.20
09:00 - 17:00
In the contemporary art of the 20th century, Orientalism is considered as a branch of Modernism. The conversation between Eastern and Western painting becomes an important issue. The fruit of the conversation is reciprocal understanding that brings these two parties closer to each other. Ink wash painting took in European abstractness as well as the expressionistic composition, while the calligraphic linearity in Chinese art found its way into Western modern painting. In the 1930s and 1940s, British art critic Roger Fry, pointed out the calligraphic linearity in Chinese painting in
Line as a Means of Expression in Modern Art.” Another British art critic Herbert Read analyzed the calligraphic linearity in the works of avant-garde artists such as Franz Kline, Mark Tobey, and Motherwell and put forth the concept of
calligraphy paining” in A Concise History of Modern Painting. In 1950s, Western paintings start to put their attention on how linearity plays its part in Chinese calligraphy and ink wash painting. Since, Expressionistic calligraphy works of Japanese artists such as Yuichi Inoue, are exhibited around Europe frequently. The exhibition
The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu” aimed to probe into the significant practice of modernist calligraphy in the post-war Asia. It highlights expressionistic calligraphy works of Yuichi Inoue in 1950s, artworks of Lee Ufan, a Korean-Japanese artist who plays an important role in the Mono-ha art movement, and the works of experimental ink wash paintings by Zhang Yu in the 1990s. These artists transformed the calligraphic characteristic in Chinese art into a brand new language of modernism. Their achievements in post-war Asian modern art are significant yet unrecognized, and are not given due acclamation in the history of art. This exhibition is a first attempt to take China, Korea and Japan as one art group, trying to present the modernity coming of literati painting and its Chinese calligraphic language system. Inoue expands Chinese calligraphy into expressionistic calligraphy painting. Lee defines lines and brushstrokes as a conceptual iconic expression that setting in between Chinese calligraphy and Western oil painting. Zhang gives up Chinese calligraphy and instead adopts a means of anti-writing, abstracting writing between water and paper and transforming it into a purely conceptual creation. by Zhu Qi
Line as a Means of Expression in Modern Art.” Another British art critic Herbert Read analyzed the calligraphic linearity in the works of avant-garde artists such as Franz Kline, Mark Tobey, and Motherwell and put forth the concept of
calligraphy paining” in A Concise History of Modern Painting. In 1950s, Western paintings start to put their attention on how linearity plays its part in Chinese calligraphy and ink wash painting. Since, Expressionistic calligraphy works of Japanese artists such as Yuichi Inoue, are exhibited around Europe frequently. The exhibition
The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu” aimed to probe into the significant practice of modernist calligraphy in the post-war Asia. It highlights expressionistic calligraphy works of Yuichi Inoue in 1950s, artworks of Lee Ufan, a Korean-Japanese artist who plays an important role in the Mono-ha art movement, and the works of experimental ink wash paintings by Zhang Yu in the 1990s. These artists transformed the calligraphic characteristic in Chinese art into a brand new language of modernism. Their achievements in post-war Asian modern art are significant yet unrecognized, and are not given due acclamation in the history of art. This exhibition is a first attempt to take China, Korea and Japan as one art group, trying to present the modernity coming of literati painting and its Chinese calligraphic language system. Inoue expands Chinese calligraphy into expressionistic calligraphy painting. Lee defines lines and brushstrokes as a conceptual iconic expression that setting in between Chinese calligraphy and Western oil painting. Zhang gives up Chinese calligraphy and instead adopts a means of anti-writing, abstracting writing between water and paper and transforming it into a purely conceptual creation. by Zhu Qi
In the contemporary art of the 20th century, Orientalism is considered as a branch of Modernism. The conversation between Eastern and Western painting becomes an important issue. The fruit of the conversation is reciprocal understanding that brings these two parties closer to each other. Ink wash painting took in European abstractness as well as the expressionistic composition, while the calligraphic linearity in Chinese art found its way into Western modern painting. In the 1930s and 1940s, British art critic Roger Fry, pointed out the calligraphic linearity in Chinese painting in
Line as a Means of Expression in Modern Art.” Another British art critic Herbert Read analyzed the calligraphic linearity in the works of avant-garde artists such as Franz Kline, Mark Tobey, and Motherwell and put forth the concept of
calligraphy paining” in A Concise History of Modern Painting. In 1950s, Western paintings start to put their attention on how linearity plays its part in Chinese calligraphy and ink wash painting. Since, Expressionistic calligraphy works of Japanese artists such as Yuichi Inoue, are exhibited around Europe frequently. The exhibition
The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu” aimed to probe into the significant practice of modernist calligraphy in the post-war Asia. It highlights expressionistic calligraphy works of Yuichi Inoue in 1950s, artworks of Lee Ufan, a Korean-Japanese artist who plays an important role in the Mono-ha art movement, and the works of experimental ink wash paintings by Zhang Yu in the 1990s. These artists transformed the calligraphic characteristic in Chinese art into a brand new language of modernism. Their achievements in post-war Asian modern art are significant yet unrecognized, and are not given due acclamation in the history of art. This exhibition is a first attempt to take China, Korea and Japan as one art group, trying to present the modernity coming of literati painting and its Chinese calligraphic language system. Inoue expands Chinese calligraphy into expressionistic calligraphy painting. Lee defines lines and brushstrokes as a conceptual iconic expression that setting in between Chinese calligraphy and Western oil painting. Zhang gives up Chinese calligraphy and instead adopts a means of anti-writing, abstracting writing between water and paper and transforming it into a purely conceptual creation. by Zhu Qi
Line as a Means of Expression in Modern Art.” Another British art critic Herbert Read analyzed the calligraphic linearity in the works of avant-garde artists such as Franz Kline, Mark Tobey, and Motherwell and put forth the concept of
calligraphy paining” in A Concise History of Modern Painting. In 1950s, Western paintings start to put their attention on how linearity plays its part in Chinese calligraphy and ink wash painting. Since, Expressionistic calligraphy works of Japanese artists such as Yuichi Inoue, are exhibited around Europe frequently. The exhibition
The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu” aimed to probe into the significant practice of modernist calligraphy in the post-war Asia. It highlights expressionistic calligraphy works of Yuichi Inoue in 1950s, artworks of Lee Ufan, a Korean-Japanese artist who plays an important role in the Mono-ha art movement, and the works of experimental ink wash paintings by Zhang Yu in the 1990s. These artists transformed the calligraphic characteristic in Chinese art into a brand new language of modernism. Their achievements in post-war Asian modern art are significant yet unrecognized, and are not given due acclamation in the history of art. This exhibition is a first attempt to take China, Korea and Japan as one art group, trying to present the modernity coming of literati painting and its Chinese calligraphic language system. Inoue expands Chinese calligraphy into expressionistic calligraphy painting. Lee defines lines and brushstrokes as a conceptual iconic expression that setting in between Chinese calligraphy and Western oil painting. Zhang gives up Chinese calligraphy and instead adopts a means of anti-writing, abstracting writing between water and paper and transforming it into a purely conceptual creation. by Zhu Qi
Yuichi Inoue 1916 Born in Tokyo 1935 Graduated from the Tokyo Prefectural Aoyama Normal School (now Tokyo Gakugei University 1952 Founded the group "Bokujin-kai” with artist friends 1976 Retired as principal of the Asahi Elementary School 1985 Died on June 15th Solo Exhibitions (selected) 2015 Far Yet Close: Calligraphy by Inoue Yuichi, Musée Tomo, Tokyo, Japan 2015 Yuichi Inoue, Setouchi City Museum of Art, Okayama, Japan 2014 Gutetsu—Inoue Yuichi, Gallery 100, Taipei, Taiwan 2013 Portraits of Destroyed Cities, The Museum of Modern Art, Gunma, Japan 2012 Painting with All of One’s Heart, and the Avant-Garde Art of Calligraphy, Karuizawa New Art Museum, Karuizawa, Japan 2011 Yuichi Inoue, Imperial City Art Museum, Beijing, China 2010 Yuichi Inoue, Tianjin Academy of Fine Arts, China 2008 Yuichi’s Solo Exhibition, Today Art Museum, Beijing, China 2000 Yu-Ichi Vivant, Chigasaki City Museum of Art, Japan 1999 Yu-Ichi 100 Works, Seoul Art Center, Korea 1996 Yu-Ichi Hin- werke 1954 bis 1982, Museum für Kunsthandwerk, Frankfurt, Germany 1995 Yu-Ichi 1916-1985, Kunsthalle Basel, Basel, Switzerland 1992 The Splendor of Poverty, Azabu Museum, Tokyo, Japan 1989-1994 Yu-Ichi Works 1955-85, traveling in Japan 1987 Yu-Ichi's Hundred Hana, PARCO Gallery, Tokyo, Japan 1986 Yu-Ichi Zeppitsu (Yu-Ichi, Psyché Calligraphy-Parting Thoughts), NEWZ, Roppongi, Tokyo, Japan Yu-Ichi Vivant, Seed Hall, Tokyo, Japan 1980 Solo Exhibition, Asahi Gallery, Kyoto, Japan 1972 Solo Exhibition, Ichibankan Gallery, Tokyo, Japan 1971 Solo exhibition in commemoration of the publication of "Hana-no-Sho-Cho", Ichibankan Gallery, Tokyo, Japan 1965 Solo Exhibition, Galerie Rudolf Zwirner, Cologne, Germany 1962 Solo Exhibition, Galerie Rudolf Zwirner, Cologne, Germany Group Exhibitions (selected) 2015 The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan 2013 Sharjah Biennial 11, Sharjah Art Foundation, Sharjah, United Arab Emirates 2009 Ink Painting, Calligraphy: The Third Abstraction, Contrasts Gallery, Shanghai, China 2005 Hangzhou International Calligraphy Festival, China Academy of Art, Hangzhou, China 2004 War and Art, Museum of Modern Art, Gunma, Japan 1994-1995 Japanese Art after 1945: Scream against the Sky, Yokohama Museum of Art, Japan; Guggenheim Museum Soho, New York; San Francisco Museum of Modern Art, California, USA 1988 Stamp of War and Repose of Souls, Iwaki City Art Museum, Fukushima, Japan 1982 1955 and Now, Wako Hall, Tokyo, Japan 1979 Japan Today, Chicago Cultural Center, Chicago, Illinois, USA 1976 Sho-Modern Japanische Schreibkunst, traveling in Germany 1973 Development of Postwar Japanese Art: Abstract and Non-Figurative, National Museum of Modern Art, Tokyo, Japan 1972 6th Japanese Modern Calligraphy, Saitama Hall, Saitama, Japan 1969 Modern World Art, National Museum of Modern Art, Tokyo, Japan 1967 1st Japan Gendai Sho, Tokyo Metropolitan Art Museum, Tokyo, Japan 1966 1st Japan Art Festival, Union Carbide Company Headquarter, New York, USA 1965 Yu-Ichi Calligraphien, Von der Heydt-Museum, Wuppertal, Germany 1963 Schrift und Build, Kalligraphien Japanischer Meister der Gegenwart, Stedelijk Museum, Amsterdam, Netherlands; Baden-Baden, Germany 1962 Contemporary Sumie, traveling in Canada and USA 1961 6th Biennale, Museu de Arte Moderna, Sao Paulo, Brazil Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Pittsburgh, Pennsylvania, USA 1960 Pintura Japonesa Contemporanea, Museu de Arte Moderna, Rio de Janeiro, Brazil Japanische Kalligraphie, Kunstverein Freiburg, Museum Folkwang, Freiburg, Essen, Germany 1959 Documenta 2, Kassel, Germany 1958 50 Ans d’Art Moderne, Palais des Beaux-Arts, Brussels 1957 4th Biennale, Museu de Arte Moderna, Sao Paulo, Brazil 1955 Japan-America Abstract Art, National Museum of Modern Art, Tokyo, Japan Contemporary Japanese Calligraphy, traveling in Europe 1st Public Exhibition of Bakujin, Kyoto Municipal Museum of Art, Japan 1954 Japanese Calligraphy, Museum of Modern Art, New York, USA 1950 3rd Shodo Geijutsuin Exhibition, Japan
Yuichi Inoue 1916 Born in Tokyo 1935 Graduated from the Tokyo Prefectural Aoyama Normal School (now Tokyo Gakugei University 1952 Founded the group "Bokujin-kai” with artist friends 1976 Retired as principal of the Asahi Elementary School 1985 Died on June 15th Solo Exhibitions (selected) 2015 Far Yet Close: Calligraphy by Inoue Yuichi, Musée Tomo, Tokyo, Japan 2015 Yuichi Inoue, Setouchi City Museum of Art, Okayama, Japan 2014 Gutetsu—Inoue Yuichi, Gallery 100, Taipei, Taiwan 2013 Portraits of Destroyed Cities, The Museum of Modern Art, Gunma, Japan 2012 Painting with All of One’s Heart, and the Avant-Garde Art of Calligraphy, Karuizawa New Art Museum, Karuizawa, Japan 2011 Yuichi Inoue, Imperial City Art Museum, Beijing, China 2010 Yuichi Inoue, Tianjin Academy of Fine Arts, China 2008 Yuichi’s Solo Exhibition, Today Art Museum, Beijing, China 2000 Yu-Ichi Vivant, Chigasaki City Museum of Art, Japan 1999 Yu-Ichi 100 Works, Seoul Art Center, Korea 1996 Yu-Ichi Hin- werke 1954 bis 1982, Museum für Kunsthandwerk, Frankfurt, Germany 1995 Yu-Ichi 1916-1985, Kunsthalle Basel, Basel, Switzerland 1992 The Splendor of Poverty, Azabu Museum, Tokyo, Japan 1989-1994 Yu-Ichi Works 1955-85, traveling in Japan 1987 Yu-Ichi's Hundred Hana, PARCO Gallery, Tokyo, Japan 1986 Yu-Ichi Zeppitsu (Yu-Ichi, Psyché Calligraphy-Parting Thoughts), NEWZ, Roppongi, Tokyo, Japan Yu-Ichi Vivant, Seed Hall, Tokyo, Japan 1980 Solo Exhibition, Asahi Gallery, Kyoto, Japan 1972 Solo Exhibition, Ichibankan Gallery, Tokyo, Japan 1971 Solo exhibition in commemoration of the publication of "Hana-no-Sho-Cho", Ichibankan Gallery, Tokyo, Japan 1965 Solo Exhibition, Galerie Rudolf Zwirner, Cologne, Germany 1962 Solo Exhibition, Galerie Rudolf Zwirner, Cologne, Germany Group Exhibitions (selected) 2015 The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan 2013 Sharjah Biennial 11, Sharjah Art Foundation, Sharjah, United Arab Emirates 2009 Ink Painting, Calligraphy: The Third Abstraction, Contrasts Gallery, Shanghai, China 2005 Hangzhou International Calligraphy Festival, China Academy of Art, Hangzhou, China 2004 War and Art, Museum of Modern Art, Gunma, Japan 1994-1995 Japanese Art after 1945: Scream against the Sky, Yokohama Museum of Art, Japan; Guggenheim Museum Soho, New York; San Francisco Museum of Modern Art, California, USA 1988 Stamp of War and Repose of Souls, Iwaki City Art Museum, Fukushima, Japan 1982 1955 and Now, Wako Hall, Tokyo, Japan 1979 Japan Today, Chicago Cultural Center, Chicago, Illinois, USA 1976 Sho-Modern Japanische Schreibkunst, traveling in Germany 1973 Development of Postwar Japanese Art: Abstract and Non-Figurative, National Museum of Modern Art, Tokyo, Japan 1972 6th Japanese Modern Calligraphy, Saitama Hall, Saitama, Japan 1969 Modern World Art, National Museum of Modern Art, Tokyo, Japan 1967 1st Japan Gendai Sho, Tokyo Metropolitan Art Museum, Tokyo, Japan 1966 1st Japan Art Festival, Union Carbide Company Headquarter, New York, USA 1965 Yu-Ichi Calligraphien, Von der Heydt-Museum, Wuppertal, Germany 1963 Schrift und Build, Kalligraphien Japanischer Meister der Gegenwart, Stedelijk Museum, Amsterdam, Netherlands; Baden-Baden, Germany 1962 Contemporary Sumie, traveling in Canada and USA 1961 6th Biennale, Museu de Arte Moderna, Sao Paulo, Brazil Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Pittsburgh, Pennsylvania, USA 1960 Pintura Japonesa Contemporanea, Museu de Arte Moderna, Rio de Janeiro, Brazil Japanische Kalligraphie, Kunstverein Freiburg, Museum Folkwang, Freiburg, Essen, Germany 1959 Documenta 2, Kassel, Germany 1958 50 Ans d’Art Moderne, Palais des Beaux-Arts, Brussels 1957 4th Biennale, Museu de Arte Moderna, Sao Paulo, Brazil 1955 Japan-America Abstract Art, National Museum of Modern Art, Tokyo, Japan Contemporary Japanese Calligraphy, traveling in Europe 1st Public Exhibition of Bakujin, Kyoto Municipal Museum of Art, Japan 1954 Japanese Calligraphy, Museum of Modern Art, New York, USA 1950 3rd Shodo Geijutsuin Exhibition, Japan
Lee Ufan 1936 Born in Korea 1961 Graduated from Nihon University, Department of Philosophy, Tokyo, Japan 1973–2007 Professor, Tama Art University, Tokyo, Japan 1997 Invited professor, Ecole Nationale Supérieure des Beaux-Arts, Paris 2001 13th Praemium Imperiale (Painting), Tokyo, Japan 11th Ho-Am Prize, Seoul, Korea 2010 Lee Ufan Museum opens, Naoshima, Japan Solo Exhibitions (selected) 2015 Palazzo Contarini Polignac, Venice, Italy 2014 Château de Versailles, France 2012 Gwangju Museum of Art, Gwangju, Korea 2011 Solomon R. Guggenheim Museum, New York, USA 2008 Royal Museum of Fine Arts of Belgium, Brussels, Belgium 2007 52nd Biennale di Venezia, Palazzo Palumbo Fossati, Venice, Italy 2005 Yokohama Museum of Art, Yokohama, Japan 2003 Leeum Samsung Museum of Contemporary Art, Seoul, Korea 2001 Kunstmuseum Bonn, Germany 1996, 2004, 2008, 2015 Lisson Gallery, London, England 1994 National Museum of Modern and Contemporary Art, Seoul, Korea 1991 Hara Museum ARC, Gunma, Japan 1988 Padiglione d’Arte Contemporanea, Milano, Italy 1984, 1986, 1989, 1992, 1995 Galerie de Paris, Paris, France 1978, 1984, 1987, 1990, 1997, 2003 Gallery Hyundai, Seoul, Korea 1978 Düsseldorf Kunsthalle, Düsseldorf, Germany 1973, 1977, 1980, 1986, 1989, 1993, 1999, 2008 Tokyo Gallery, Tokyo, Japan 1967 Sato Gallery, Tokyo, Japan Group Exhibitions (selected) 2015 The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan 56th Venice Biennale, Dansaekhwa, Palazzo Contarini Polignac, Venice, Italy 2014 Formes Simples, Centre Pompidou-Metz, France Korean Beauty: Two Kinds of Nature, National Museum of Modern and Contemporary Art, Seoul, Korea 2012–13 Tokyo 1955–1970: A New Avant-Garde, Museum of Modern Art, New York, USA 2012 Art as Magic: Visionary Artists and Their Inner Supernatural World, Aichi Prefecture Museum of Art, Nagoya, Japan 2011 Time, Space, Existence, Palazzo Bembo, Venice, Italy 2009 Infinitum, Palazzo Fortuny, Venice, Italy 2007 Elastic Taboos, Kunsthalle,
Lee Ufan 1936 Born in Korea 1961 Graduated from Nihon University, Department of Philosophy, Tokyo, Japan 1973–2007 Professor, Tama Art University, Tokyo, Japan 1997 Invited professor, Ecole Nationale Supérieure des Beaux-Arts, Paris 2001 13th Praemium Imperiale (Painting), Tokyo, Japan 11th Ho-Am Prize, Seoul, Korea 2010 Lee Ufan Museum opens, Naoshima, Japan Solo Exhibitions (selected) 2015 Palazzo Contarini Polignac, Venice, Italy 2014 Château de Versailles, France 2012 Gwangju Museum of Art, Gwangju, Korea 2011 Solomon R. Guggenheim Museum, New York, USA 2008 Royal Museum of Fine Arts of Belgium, Brussels, Belgium 2007 52nd Biennale di Venezia, Palazzo Palumbo Fossati, Venice, Italy 2005 Yokohama Museum of Art, Yokohama, Japan 2003 Leeum Samsung Museum of Contemporary Art, Seoul, Korea 2001 Kunstmuseum Bonn, Germany 1996, 2004, 2008, 2015 Lisson Gallery, London, England 1994 National Museum of Modern and Contemporary Art, Seoul, Korea 1991 Hara Museum ARC, Gunma, Japan 1988 Padiglione d’Arte Contemporanea, Milano, Italy 1984, 1986, 1989, 1992, 1995 Galerie de Paris, Paris, France 1978, 1984, 1987, 1990, 1997, 2003 Gallery Hyundai, Seoul, Korea 1978 Düsseldorf Kunsthalle, Düsseldorf, Germany 1973, 1977, 1980, 1986, 1989, 1993, 1999, 2008 Tokyo Gallery, Tokyo, Japan 1967 Sato Gallery, Tokyo, Japan Group Exhibitions (selected) 2015 The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan 56th Venice Biennale, Dansaekhwa, Palazzo Contarini Polignac, Venice, Italy 2014 Formes Simples, Centre Pompidou-Metz, France Korean Beauty: Two Kinds of Nature, National Museum of Modern and Contemporary Art, Seoul, Korea 2012–13 Tokyo 1955–1970: A New Avant-Garde, Museum of Modern Art, New York, USA 2012 Art as Magic: Visionary Artists and Their Inner Supernatural World, Aichi Prefecture Museum of Art, Nagoya, Japan 2011 Time, Space, Existence, Palazzo Bembo, Venice, Italy 2009 Infinitum, Palazzo Fortuny, Venice, Italy 2007 Elastic Taboos, Kunsthalle,
Zhang Yu (courtesy name Yu Ren, literary name Shi Yu) 1959 Born in Tianjin, China 1979-2002 Editorial Director, Senior Editor of World of Chinese Painting, Tianjin Yangliuqing Fine Arts Press 2002-2005 Associate Professor at Tianjin Transportation Vocational College 2004 Guest Professor in the New Media Department, Beijing Film Academy Currently lives and works as a professional artist in Beijing, China Lectures (selected) 2015 You and I series: My “Fingerprints” Behaviors’ Effects on the Video Art, Xiaozhou Ren Min Li Tang, Guangzhou, China 2014 Ink Art: About “Divine Light” and “Fingerprints”, Metropolitan Museum, New York, USA Guangzhou Academy of Fine Arts, Young Teachers Research Association, Guangzhou, China 2013 Fine Arts Department of the Beijing Film Academy, Beijing, China Fine Arts Department of the Nanjing Academy of Fine Arts, Nanjing, China 2006 Comprehensive Painting Department, Tianjin Academy of Fine Arts, Tianjin, China 2004 New Media Department, Beijing Film Academy, Beijing, China 2003 Department of Oriental Arts and the Department of Design of the School of Liberal Arts, Nankai University, Tianjin, China 1993 Royal Academy of Fine Arts Antwerp, Antwerp, Belgium Prizes and Awards 2012 AAC, Arts China: Artist of the Year (Ink and Wash category), Forbidden City, Beijing, China 2004 Fu Baoshi Award: Ink and Wash Painting Medium Nanjing Triennial (second prize), Nanjing, China Solo Exhibitions (selected) 2014 Zhang Yu: Conception and Form/Thought, Guangdong Museum of Art, Guangzhou, China Fundamental: Zhang Yu’s Darwinism, Sanshang Art Museum, Hangzhou, China 2013 Cultivation Practice: Exhibition of Zhang Yu’s Fingerprint Works 1991-2013, Gwangju Museum of Art, Gwangju, Korea Conception and Form: Exhibition of Zhang Yu’s Works, Fo Guang Yuan Art Gallery, Kaohsiung, Taiwan Drinking a Toasting at Martell: Ink and Wash, Martell Chateau, Cognac, France 2011 Cultivation Practice: Zhang Yu’s Fingerprint works 1991-2011, Today Art Museum, Beijing, China 2009 Fingerprints: Traces of Zhang Yu’s Cultivation Practice, Kuandu Museum of Fine Arts, Taipei, Taiwan Group Exhibitions (selected) 2015 The End of Modernity in Calligraphy: from Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan Personal Structures: Time-Space-Existence, 56th Venice Biennale, Palazzo Bembo, Venice, Italy 2014 Node in Time: 1980s Ink and Wash Ecological Documenta, Himalayas Museum, Shanghai, China Chinese Contemporary Art Research, United Art Museum, Wuhan, China 2013 The Original Way: New Concepts in Chinese Contemporary Art, Hong Kong Museum of Art, Hong Kong, China Personal Structures, 55th Venice Biennale, Venice, Italy Ink Art: Past as Present in Contemporary China, Metropolitan Museum of Art, New York, NY, USA New Realm: Exhibition of Contemporary Chinese Art, Centro Cultural Conde Duque, Madrid, Spain New Quadrant Ink Painting: 2013 Nominated Art Critics Exhibition, National Art Museum of China, Beijing, China 2012 Shape Without Shape: Exhibition of Chinese Contemporary Art, Kunstwerk Karlshütte Rendsburg/Büdelsdorf, German Ink: The Art of China, Saatchi Gallery, London, UK Towards Notion: Maximalism in Contrasts, Hillwood Gallery of Long Island University, Long Island, NY, USA 2011 New Realm: Chinese Contemporary Art, National Gallery of Australia, Canberra, Australia Ink and Wash China, Chinese and Italian Contemporary Art Exchange Exhibition, Museo Rivelli di Arte Moderna e Contemporanea, Napoli; Galleria Marino, Rome, Italy 2010 The Great Celestial Abstraction: Chinese Art in the 21st Century, National Museum of China, Beijing, China Beyond the Horizon: Chinese Contemporary Art, Chilean National Museum of Fine Arts, Santiago, Chile 2009 Open Flexibility: Innovative Contemporary Ink Art, Taipei Fine Arts Museum, Taipei, Taiwan 2008 Yi Pai: 30 Years of “Abstract” Art in China, La Caixa Forum Palma, La Caixa Forum Barcelona, La Caixa Forum, Madrid, Spain Individual Case: Artists in Art History and Art Criticism, SZ Art Center, 798, Beijing, China 2007 China Onward: The Estella Collection of Chinese Contemporary Art, Louisiana Museum of Modern Art, Humlebæk, Denmark Continuation, Variation and Infiltration: Ink, a Monochromatic World, Art Museum of Tokyo National University of Fine Arts and Music, Tokyo, Japan Narration in Ink and Wash, Yokohama Zaim Gallery, Yokohama, Japan 2005 Upcoming Ink Painting: Modern Experimental Ink and Wash Painting, Palais Rihour, Lille, France 2004 Dream of the Dragon's Nation: Contemporary Art from China, Irish Museum of Modern Art, Dublin, Ireland Yokohama International Film Festival: Visual Group, Neo-Academicism of China, Bank Art 1929, Yokohama, Japan 2002 Ost + West: Ausstellung für die Zeitgenössische Kunst aus China, Künstlerhaus in Wien, Vienna, Austria 2001 Dream_01, Contemporary Chinese Art, Atlantis Gallery, London, UK 20 Years of Experiment in Chinese Ink and Wash, Guangdong Art Museum, Guangzhou, China 1999 14th Asian International Art Exhibition, Fukuoka Modern Art Gallery, Fukuoka, Japan
Zhang Yu (courtesy name Yu Ren, literary name Shi Yu) 1959 Born in Tianjin, China 1979-2002 Editorial Director, Senior Editor of World of Chinese Painting, Tianjin Yangliuqing Fine Arts Press 2002-2005 Associate Professor at Tianjin Transportation Vocational College 2004 Guest Professor in the New Media Department, Beijing Film Academy Currently lives and works as a professional artist in Beijing, China Lectures (selected) 2015 You and I series: My “Fingerprints” Behaviors’ Effects on the Video Art, Xiaozhou Ren Min Li Tang, Guangzhou, China 2014 Ink Art: About “Divine Light” and “Fingerprints”, Metropolitan Museum, New York, USA Guangzhou Academy of Fine Arts, Young Teachers Research Association, Guangzhou, China 2013 Fine Arts Department of the Beijing Film Academy, Beijing, China Fine Arts Department of the Nanjing Academy of Fine Arts, Nanjing, China 2006 Comprehensive Painting Department, Tianjin Academy of Fine Arts, Tianjin, China 2004 New Media Department, Beijing Film Academy, Beijing, China 2003 Department of Oriental Arts and the Department of Design of the School of Liberal Arts, Nankai University, Tianjin, China 1993 Royal Academy of Fine Arts Antwerp, Antwerp, Belgium Prizes and Awards 2012 AAC, Arts China: Artist of the Year (Ink and Wash category), Forbidden City, Beijing, China 2004 Fu Baoshi Award: Ink and Wash Painting Medium Nanjing Triennial (second prize), Nanjing, China Solo Exhibitions (selected) 2014 Zhang Yu: Conception and Form/Thought, Guangdong Museum of Art, Guangzhou, China Fundamental: Zhang Yu’s Darwinism, Sanshang Art Museum, Hangzhou, China 2013 Cultivation Practice: Exhibition of Zhang Yu’s Fingerprint Works 1991-2013, Gwangju Museum of Art, Gwangju, Korea Conception and Form: Exhibition of Zhang Yu’s Works, Fo Guang Yuan Art Gallery, Kaohsiung, Taiwan Drinking a Toasting at Martell: Ink and Wash, Martell Chateau, Cognac, France 2011 Cultivation Practice: Zhang Yu’s Fingerprint works 1991-2011, Today Art Museum, Beijing, China 2009 Fingerprints: Traces of Zhang Yu’s Cultivation Practice, Kuandu Museum of Fine Arts, Taipei, Taiwan Group Exhibitions (selected) 2015 The End of Modernity in Calligraphy: from Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan Personal Structures: Time-Space-Existence, 56th Venice Biennale, Palazzo Bembo, Venice, Italy 2014 Node in Time: 1980s Ink and Wash Ecological Documenta, Himalayas Museum, Shanghai, China Chinese Contemporary Art Research, United Art Museum, Wuhan, China 2013 The Original Way: New Concepts in Chinese Contemporary Art, Hong Kong Museum of Art, Hong Kong, China Personal Structures, 55th Venice Biennale, Venice, Italy Ink Art: Past as Present in Contemporary China, Metropolitan Museum of Art, New York, NY, USA New Realm: Exhibition of Contemporary Chinese Art, Centro Cultural Conde Duque, Madrid, Spain New Quadrant Ink Painting: 2013 Nominated Art Critics Exhibition, National Art Museum of China, Beijing, China 2012 Shape Without Shape: Exhibition of Chinese Contemporary Art, Kunstwerk Karlshütte Rendsburg/Büdelsdorf, German Ink: The Art of China, Saatchi Gallery, London, UK Towards Notion: Maximalism in Contrasts, Hillwood Gallery of Long Island University, Long Island, NY, USA 2011 New Realm: Chinese Contemporary Art, National Gallery of Australia, Canberra, Australia Ink and Wash China, Chinese and Italian Contemporary Art Exchange Exhibition, Museo Rivelli di Arte Moderna e Contemporanea, Napoli; Galleria Marino, Rome, Italy 2010 The Great Celestial Abstraction: Chinese Art in the 21st Century, National Museum of China, Beijing, China Beyond the Horizon: Chinese Contemporary Art, Chilean National Museum of Fine Arts, Santiago, Chile 2009 Open Flexibility: Innovative Contemporary Ink Art, Taipei Fine Arts Museum, Taipei, Taiwan 2008 Yi Pai: 30 Years of “Abstract” Art in China, La Caixa Forum Palma, La Caixa Forum Barcelona, La Caixa Forum, Madrid, Spain Individual Case: Artists in Art History and Art Criticism, SZ Art Center, 798, Beijing, China 2007 China Onward: The Estella Collection of Chinese Contemporary Art, Louisiana Museum of Modern Art, Humlebæk, Denmark Continuation, Variation and Infiltration: Ink, a Monochromatic World, Art Museum of Tokyo National University of Fine Arts and Music, Tokyo, Japan Narration in Ink and Wash, Yokohama Zaim Gallery, Yokohama, Japan 2005 Upcoming Ink Painting: Modern Experimental Ink and Wash Painting, Palais Rihour, Lille, France 2004 Dream of the Dragon's Nation: Contemporary Art from China, Irish Museum of Modern Art, Dublin, Ireland Yokohama International Film Festival: Visual Group, Neo-Academicism of China, Bank Art 1929, Yokohama, Japan 2002 Ost + West: Ausstellung für die Zeitgenössische Kunst aus China, Künstlerhaus in Wien, Vienna, Austria 2001 Dream_01, Contemporary Chinese Art, Atlantis Gallery, London, UK 20 Years of Experiment in Chinese Ink and Wash, Guangdong Art Museum, Guangzhou, China 1999 14th Asian International Art Exhibition, Fukuoka Modern Art Gallery, Fukuoka, Japan
Zhu Qi Date of Birth: 1966 in Shanghai, China. Art critic and curator, Doctor of Arts. Now live in Beijing, China, and work in China Art Research Institute. He has curated a series of important exhibitions with China avant-garde in 1990s, and has published amount of art comments and thesis on China contemporary art in 1990s. His published book include “New Art History and Visual Narrative”, “China Avant-garde Photography since 1990”, “Video: New Media Art in Late 20th-Century Art”, and ”Zhu Qi Anthology”. Awards 2013 523 Haian Art Forum "Annual Award for Art Criticism" 2012 Second Yishu Awards for Critical Writing on Contemporary Chinese Art, Yishu-Journal of Contemporary Chinese Art 2008 “The Year of the Yong Critic” Award, Chinese Art Critics Annual Meeting “The Ten Most Influential People in Chinese Art”, China Art Weekly 2007 “Chinese Culture” Star Award, Oriental Morning Post
Zhu Qi Date of Birth: 1966 in Shanghai, China. Art critic and curator, Doctor of Arts. Now live in Beijing, China, and work in China Art Research Institute. He has curated a series of important exhibitions with China avant-garde in 1990s, and has published amount of art comments and thesis on China contemporary art in 1990s. His published book include “New Art History and Visual Narrative”, “China Avant-garde Photography since 1990”, “Video: New Media Art in Late 20th-Century Art”, and ”Zhu Qi Anthology”. Awards 2013 523 Haian Art Forum "Annual Award for Art Criticism" 2012 Second Yishu Awards for Critical Writing on Contemporary Chinese Art, Yishu-Journal of Contemporary Chinese Art 2008 “The Year of the Yong Critic” Award, Chinese Art Critics Annual Meeting “The Ten Most Influential People in Chinese Art”, China Art Weekly 2007 “Chinese Culture” Star Award, Oriental Morning Post
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