Bâton-Serpent II — Huang Yongping International Touring Exhibition
Hosted by：Red Brick Art Museum
Co-organized by：MAXXI,Power Station of Art
With special thanks to：GLADSTONE GALLERY,Kamel Mennour
Opening Reception: 3:00pm, September26,2015
Panel Discussion: 4:00pm, September26,2015
Exhibition Time: September 26,2015 - February 16,2016
Add: Hegezhuang,Cuigezhuang Village,Chaoyang District,Beijing,100103
Huang Yong Ping: Baton-Serpent II
Curated by Hou Hanru
Huang Yong Ping has been one of the most important and influential figures in both the Chinese and global contemporary art worlds since the mid-1980s. Empowered with unique philosophical thoughts and astute artistic language, he has created a complex, dynamic, ever-evolving and monumental body of works that question and criticize all conventional perception and knowledge of the world. Inspired by different cultural references beyond the dominant narrative of modernity, his work releases the power of skepticism from mobile positions and defies all established value systems and identification, providing alternative proposals for us to deal with problems of our time and the future.
A Chinese native, Huang Yong Ping started his artistic career as a leader of the ‘85 New Wave Movement in 1985-1986. He left China to settle in Paris at the end of the1980s and has since been active around the world. This experience of living in constant displacement makes him even more convinced that change is the truth of life and skepticism, the ethical position to adopt. He has developed profound and dynamic reflections on the questions of encounter, confrontation, conflict and negotiation between cultures, traditions, ideologies and political systems. Such questions are becoming increasingly overwhelming in our everyday life, which is driven by the acceleration of globalization, migration, communication, economic expansion and geopolitical competition. As he explains in his notes on the exhibition, the practice of art and the exhibition of works of art are for him to “dispute” – disputing with himself, with others, with architectural spaces, with institutions, in order to “fulfill a matter”, to realize a new reality that will further be polemicized and disputed by the public. In other words, to make and exhibit art is to evoke new forms of public life open to questions and critiques.