Artist: Zhu Ming

ZHU MING :

MOUNTAIN ROCK SERIES

CURATED BY WU HUNG

June 2 - July 9, 2011

opening reception: June 2 (5-8pm)

Image:10 o'clock July 27, 2008 No. A, In Xiaogling Liangshanzhou Sichuan, China, Photograph

Chicago, Illinois : Mountain Rock Series by Zhu Ming curated by Wu Hung.

The exhibition Mountain Rock Series is a titillating combination of photos, videos and paintings by Beijing artist Zhu Ming. His signature style balloon performances are juxtaposed alongside his recent paintings which examine the dual roles of illusion and reality and their interchangeable nature. Foremost contemporary art scholar Wu Hung curated the exhibition. The show opens Thursday June 2nd from 5-8 pm. The artist and curator will be present.

Zhu Ming moved to Beijing as a teenager in 1992 "for art." He became an active member of the East Village artist community, which was the founding place in China for experimental art of all kinds. Zhu Ming created a few key performances using bubbles before being arrested and detained by the Chinese police for 3 months in 1994. However several years after his arrest, Zhu Ming transitioned from bubbles to balloons creating his signature style of performance in which he submerges himself in a sealed balloon that is gradually filled with water. Walsh Gallery's exhibition will show several photos and videos which document these extraordinary performances both in China and abroad. The performances took place in a series of environmentally challenging surroundings, namely in the sea and on mountains. Each performance required great presence of mind as well as challenged the artist's basic survival since there was only a limited amount of air in the balloons. Once Mr. Zhu even created a fire inside of the balloon for the effect of smoke.

Zhu Ming has always been intrigued by concepts of self-isolation, nihilism, and the time-space continuum. Before beginning his newest paintings called Mountain Rock Series, the artist created a series of performances in which he covered himself with toxic fluorescent powder and photographed himself in total darkness. These performances examined the interdependent nature of reality and illusion. It was these philosophical explorations that lead to his current paintings Mountain Rock Series.

These paintings juxtapose more traditional renderings of mountains made by conventional material with those same renderings glowing under fluorescent lighting controlled by a timer. The lighted presentation of the mountains is symbolic of 3 gateways: The first is a "material gateway" which can be seen in a realistically lighted presentation, the second is a "spiritual gateway" which is best seen in the absence of light, and the third is a "gateway of games and rules" which is seen through the interaction of environmental factors and people.

Zhu Ming's performances helped define the genre in performance art in China for future generations. His performances have been seen around the world including the Tate Modern (London), The Victoria and Albert Museum (London), ICP(New York), Museum of Modern Art (Denmark). In 2009 Mr. Zhu was invited to do one of his balloon performances on the beach for Miami Basel. Additionally Zhu Ming has participated in seminal exhibitions both in China and abroad including Fuck Off (Shanghai) and Between Past Present and Future : New Photography and Video From China (New York - Chicago - Berlin - Santa Barbara). Zhu Ming lives and works in Beijing.

Zhu Ming - Bubble Series [performance] (2003 in Sydney)

Zhu Ming flings his frail naked self into the throws of modern life via an inflated, translucent womb and carefully engineered umbilical cord. His visceral performances courageously deconstruct respected icons of confidence by confronting isolation instead of covering it with pristine silk suits and carefully-pruned avenues. Tear off your clothes and feel the wind. Your age-associated neural modulation of hormones will thank you for redefining what it means to be respectable and adult.

"indigo blue" by artist Ann Hamilton

“Indigo Blue” consists of roughly 18,000 items of blue cotton work clothing, neatly folded and stacked on a “floating” steel platform at the center of a room."

Salvation of 'Indigo Blue' a triumph for all to see Hamilton's 'Indigo Blue' -- free of cultural limbo

May 27, 2007|By Kenneth Baker

People who encounter an Ann Hamilton installation work tend never to forget it.

I can clearly recall pieces of hers that I saw in San Francisco, San Diego, Santa Barbara, Pittsburgh and -- in two settings -- in New York.

So it stunned me to learn from Hamilton that "very little of my installation work has survived in any way. The Hirshhorn (Washington, D.C.) has a piece, but there's not a lot. I think it's not perceived as the kind of thing that has a longer life. So to enter the conversation about what it means to revisit something like this and bring it forward is a really great thing for me to be able to do."

I recently spoke with Hamilton, 50, while she was working on reconstructing "Indigo Blue" at the San Francisco Museum of Modern Art; the work was originally made in 1991 for a citywide show in Charleston, S.C.

SFMOMA hopes to acquire "Indigo Blue" in its current manifestation, rescuing it from recycling and cultural amnesia. Score another sharp collection-building move for curator Madeleine Grynsztejn if it happens.

Critical and curatorial consensus as to Hamilton's importance got corroboration from the MacArthur Foundation in 1993, when it put her in the select company of visual artists who have received the so-called genius grant. "It was an enormous gift," Hamilton said, "because it said 'you can keep doing this work that you really love doing.' "

The Los Angeles Museum of Contemporary Art had already staged a major show of her work in 1988.

"Indigo Blue" consists of roughly 18,000 items of blue cotton work clothing, neatly folded and stacked on a "floating" steel platform at the center of a room on SFMOMA's second floor.

At one end of the platform stands an old wood table and chair. From noon to 4 p.m. each day -- except Wednesdays when the museum is closed -- a volunteer sits silently at the table, erasing, thus effectively destroying, the pages of a book: "International Law Situations," a Naval War College publication pertaining to legally defined land and water boundaries. The book connects in Hamilton's thinking with Charleston's history as a seaport but she is also interested in the invisible activity of reading as a reflection of the invisible labor represented by the work clothes. "The books we originally used," as Hamilton said -- she has a boxful -- "are legal documents that mediate the relationship between land and water. That in-between space, and how you occupy the space of the in-between, is still very interesting to me."