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| Art and China after 1989: Theater of the World |
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”Art and China after 1989 presents work by 71 key artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms. Bracketed by the end of the Cold War in 1989 and the Beijing Olympics in 2008, it surveys the culture of artistic experimentation during a time characterized by the onset of globalization and the rise of a newly powerful China on the world stage. The exhibition’s subtitle, Theater of the World, comes from an installation by the Xiamen-born, Paris-based artist Huang Yong Ping: a cage-like structure housing live reptiles and insects that coexist in a natural cycle of life, an apt spectacle of globalization’s symbiosis and raw contest.” See also: Teaching Materials.
Go to Museum Resource: https://www.guggenheim.org/exhibition/art-and-china-after-1989-theater-of-the-w... | |
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| Cai Guo-Qiang: I Want to Believe |
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"Cai Guo-Qiang has literally exploded the accepted parameters of art making in our time. Drawing freely from ancient mythology, military history, Taoist cosmology, extraterrestrial observations, Maoist revolutionary tactics, Buddhist philosophy, gunpowder-related technology, Chinese medicine, and methods of terrorist violence, Cai’s art is a form of social energy, constantly mutable, linking what he refers to as 'the seen and unseen worlds.' This retrospective presents the full spectrum of the artist’s protean, multimedia art in all its conceptual complexity." With video documentation and an online exhibition of selected works. See also: Teaching Materials.
Go to Museum Resource: https://www.guggenheim.org/exhibition/cai-guo-qiang-i-want-to-believe-2 | |
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| China: 5000 Years |
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Online presentation of a 1998 exhibition that "explores the themes of innovation and transformation during the great eras of Chinese art." Two sections -- TRADITIONAL and MODERN -- but only the TRADITIONAL section is functional and is organized into seven major categories: Jade, Bronze, Grave Goods, Ceramics, Sculpture, Calligraphy, and Painting. There is extensive text under each category but only a few small images, none of which enlarge.
Go to Museum Resource: http://pastexhibitions.guggenheim.org/china/index.html | |
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| Gutai: Splendid Playground |
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The first U.S. museum retrospective exhibition ever devoted to Gutai, the most influential artists’ collective and artistic movement in postwar Japan and among the most important international avant-garde movements of the 1950s and 1960s. The exhibition aims to demonstrate Gutai’s extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social, and political context of postwar Japan and the West; and to further establish Gutai in an expanded history of modern art. Includes audio tours and activity guides. See also: Teaching Materials.
Go to Museum Resource: https://www.guggenheim.org/exhibition/gutai-splendid-playground | |
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| No Country: Contemporary Art for South and Southeast Asia |
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No Country: Contemporary Art for South and Southeast Asia, the inaugural exhibition of the Guggenheim UBS MAP Global Art Initiative, a multi-year collaboration that charts creative activity and contemporary art in three geographic regions—South and Southeast Asia, Latin America, and the Middle East and North Africa. Organized by June Yap, Guggenheim UBS MAP Curator, South and Southeast Asia, the exhibition focuses on the artistic practices and cultural traditions of that region, which includes Vietnam, Cambodia, Thailand, Indonesia, Singapore, Malaysia, the Philippines, Myanmar, Bangladesh, and India. Includes audio tours. See also: Teaching Materials.
Go to Museum Resource: https://www.guggenheim.org/exhibition/no-country-contemporary-art-for-south-and... | |
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| One Hand Clapping |
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The artists in this exhibition explore the ways in which globalization affects our understanding of the future. Their commissioned works represent a range of traditional and new mediums, from oil on canvas to virtual-reality software. The show’s title, One Hand Clapping, is derived from a koan—a riddle used in Zen Buddhist practice to transcend the limitations of logical reasoning—that asks, “We know the sound of two hands clapping. But what is the sound of one hand clapping?” Emerging from a tradition that originates in China’s Tang period (618–907), the phrase “one hand clapping” encompasses a history of cross-cultural translation and appropriation that continues into the present. Popularized by its use as the epigraph to American author J. D. Salinger’s 1953 book of fiction, Nine Stories, this koan has also served as the name of a British band, the title of an Australian film, and the title and lyrics of a Cantonese pop song. In this exhibition, “one hand clapping” serves as a metaphor for the ways in which meaning is destabilized in a globalized world. Evoking the idea of solitude, the image of “one hand clapping” also speaks to the ability of artists to put forth a singular vision that can contest entrenched beliefs, stereotypes, and power structures.
Go to Museum Resource: https://www.guggenheim.org/exhibition/one-hand-clapping | |
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| On Kawara—Silence |
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Online exhibit of "On Kawara—Silence." Through radically restricted means, On Kawara’s work engages the personal and historical consciousness of place and time. Kawara’s practice is often associated with the rise of Conceptual art, yet in its complex wit and philosophical reach, it stands well apart. On Kawara—Silence is the first full representation of Kawara’s output, beginning in 1964 and including every category of work, much of it produced during his travels across the globe. Includes videos, and audio tours. See also: Teaching Materials.
Go to Museum Resource: https://www.guggenheim.org/exhibition/on-kawara-silence | |
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| Tales of Our Time |
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The artists in this exhibition challenge the conventional understanding of place. By portraying often-overlooked cultural and historical narratives, Chia-En Jao, Kan Xuan, Sun Xun, Sun Yuan & Peng Yu, Tsang Kin-Wah, Yangjiang Group, and Zhou Tao explore concepts of geography and nation-state. Their artworks address specific locations, such as their hometowns, remote borderlands, or a group of uninhabited islands, as well as abstract ideas, such as territory, boundaries, or even utopia. China, too, is presented here, not only as a country but also as a notion that is open for questioning and reinvention.
The exhibition’s title riffs on Gushi xin bian (Old Tales Retold,1936), the name of a book by modern Chinese literary giant Lu Xun in which he recasts ancient legends to critique society, reimagine history, and illuminate problems of his era. The artists in Tales of Our Time similarly call attention to the dynamic relationship between storytelling and history writing. Official histories are, in their eyes, full of fabrications, and storytelling provides a means to reconstruct the past and demystify the present. While some of the artists engage storytelling by creating characters and plots, others imbue their forms with narrative content by adapting metaphor and allegory. All of them, however, dispute the line between fiction and fact in order to make and unmake boundaries—those dividing communities, regions, nations, and continents, as well as those separating past and present, reality and dreams, and rationality and absurdity.
Go to Museum Resource: https://www.guggenheim.org/exhibition/tales-of-our-time | |
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