In 1977 he entered the printmaking department of the Central Academy of Fine Arts, Beijing (CAFA) where completed his Bachelor’s degree in 1981, staying on as an instructor and earning his MFA in 1987. Using simple pictograms, currently in popular and public usage across the world, his book is, theoretically, universally understandable. Co-presented by the Smart Museum of Art … 1987–91. See available prints and multiples, works on paper, and installation for sale and learn about the artist. Xu Bing actively encouraged input from the laborers and he, or rather they, turned the discarded into the majestic, using metals and debris sourced at numerous sites across China into a pair of towering sculptures of the mythic phoenixes, one reaching 100-feet in length, and the other 90 feet, with a combined weight of 12 tons. What is consistent in his work through the 1980s and 1990s is a connection with China's deeply-rooted scholastic traditions, something which he was taught by his intellectually-minded father in private, despite the external transformations of the Chinese language which were being implemented by Chairman Mao. New York. Xu Bing is a Chinese contemporary artist, born in 1955 in Chongqing, China. He also reflects on the generational differences which have gradually de-valued materials and objects over time, stating that his mother "hesitates to throw away even the smallest things," but that now our 'throwaway culture' means much of what could be useful goes to waste. Xu Bing is among a generation of artists, including Ai Weiwei and Gu Wenda, who experienced the Cultural Revolution first hand during their youth and transmitted that experience through their art. The owners of Bordeaux first-growth Château Mouton-Rothschild—Philippe Sereys de Rothschild, Camille Sereys de Rothschild and Julien de Beaumarchais de Rothschild—have unveiled the label for the 2018 vintage, created by contemporary Chinese artist and writer Xu Bing. Sala La Gallera, Valencia, Spain Xu Bing in Berlin. A second Chinese-language publication will be produced in collaboration with YT Pictures, entitled Art 101: Xu Bing. The second edition hangs in four strands and each strand had to be reconfigured. ", Print on paper - Eslite Gallery, Taipei, Taiwan. Xu grew up in Beijing, where he began his studies in the printmaking department at the Central Academy of Fine Arts in 1977. As with his other works, this piece presents a duality of issues, as Xu ponders the negative, almost brainwashing effects of social media, big businesses and global brands which permeate every facet of urban life. This change was perhaps prompted the drastic change he experienced upon his return to China after almost 20 years away - the Phoenix Project therefore not only asks the viewer to question the work's contextual background, but also acts as a meditation for the artist on his identity with the country and culture in which he spent his formative years. However, things are not as they first seem - Book from the Sky is, in fact, a collection of meaningless glyphs, imagined characters created by the artist to trick the viewer. Background Story 7. Over the years, Xu Bing’s work has appeared in high-school and college text-books around the world including Abram’s Art Past – Art Present, Gardner’s, Art Through the Ages and Greg Clunas’s Chinese Art a volume in the Oxford History of Art series. His artwork “The Book from the Sky” was an arrangement of large pieces of paper, which appeared to be covered in Chinese calligraphy, but in fact were meaningless symbols. Xu Bing creates contemporary artworks using Chinese calligraphy and other traditional Chinese media placed within unexpected settings. A fictional thriller, Dragonfly Eyes is a feature-length film, but created using no crew, props or actors. Xu Bing (Chinese: 徐冰; pinyin: Xú Bīng; born 1955) is a Chinese artist who served as vice-president of the Central Academy of Fine Arts. It exemplifies the intrusive and omnipresent culture of surveillance that exists, across not only China but across the globe. [Xu Bing] is best known for his stunningly beautiful yet pessimistic 1988 installation Tianshu (the book of the sky). For the Chinese audience in particular, Xu's Book from the Sky is profoundly disorientating. This, states Charlie Bennett of Aesthetica, points to a certain frustration with contemporary consumer culture, and recognition that "companies are creating a global, visual language but they also do very little to offset the anxieties of modern life. Xu Bing’s studio also made a character database software that corresponds to the language of the book. How are our actions and behavior perceived? More interesting than the narrative he contrives from the curated footage, is the technique through which the story is told, and the revelation of just how intrusive public surveillance has become. Installation of books and scrolls printed from carved wood types of invented characters, ink on paper, dimensions variable. Through May 24, 2015 . The site, polluted with trash and discarded construction materials, became a gold mine - much like Robert Rauschenberg, an influence of Xu, whose early assemblage works consisted of materials culled from trash duty during his years at The Black Mountain College. However, realizing the nonsensical nature of the characters redefines this feeling of calm into bewilderment. As part of cultural reform, the Maoist government simplified written Chinese, whilst also diverging from the subtlety and delicacy of its traditional use in their propaganda slogans, which were direct and aggressive. Needless to say, this has challenged...a lot of philosophical, legal, and moral concepts." PROJECT BY: Xu Bing (China) BIOGRAPHY: Currently serving as a Cornell A. D. White Professor-at-Large (2015-2021), Xu Bing works across artistic disciplines and cultural interventions to touch the fields of public and ecological art, printmaking, … The work is a massive installation of hundreds of volumes and scrolls printed with 4,000 imagined Chinese characters, which … Upon Xu Bin's departure, Book from the Sky was not shown again in China for nearly 20 years, despite multiple international installations of the work. Excuse Me Sir,Can You Tell Me the Way to Asia Society? View Xu Bing’s 394 artworks on artnet. Exhibited "Book from the Sky: a work by Xu Bing" PUAM, February 15-May 18 (extended to July 14), 2002 Thus, Xu employs the symbols to comment on China's social and environmental issues, stating that "the materials which make up the Phoenix closely reflect the problems facing China," including the rapid industrialization of the rural geography, an increasingly throwaway culture, and a lack of value for manual laborers. Chinese Printmaker, Calligrapher, Installation Artist and Filmmaker, Made up of 4,000 hand-carved and printed characters, Book from the Sky remains Xu Bing's most iconic work to date. After years of preparation, he created Square Word Calligraphy, which he often calls New English Calligraphy as he transforms English words nearly beyond recognition in the style of Chinese characters. Only now, he demonstrates how easily the actions of individuals can be manipulated to create a false narrative, just as language once was. This critique of modern Western behaviors lies in contrast to his later critiques of industrial China. Xu Bing. Film - Frye Art Museum, Seattle, Washington, USA, Content compiled and written by Amy McCaffrey, Edited and revised, with Summary and Accomplishments added by Molly Enholm. Instead of turning away, the artist used the project as an opportunity for transformation. This complicated installation required a complete reworking as the first edition hangs in one chain. Xu Bing joins the ranks of Picasso, Warhol, and Hockney with his 2018 label. In his youth, Bing's experience of language was one of two worlds - at home, he practiced the fine art of literati calligraphy which was so respected by Imperial Chinese values, whilst in his capacity as student and worker, he created banners and posters in the government's simplified, direct style. However, his meticulous positioning and stylistic play with the letters has rendered words into the square shapes which characterize the aesthetics of Chinese calligraphy, with the works speaking "to the problems [he] encountered in a foreign country" Still affected by the linguistic upheavals of the Cultural Revolution, Bing here explores our perception of language further, whilst incorporating his experiences with learning English. The developers envisioned the collaboration with the internationally renowned artist as a crowning achievement to enhance the building's sleek, futuristic design. In 2012, he published Book from the Ground, an oppositional treatise from Book from the Sky (1987), instead of a book that nobody could read, Xu Bing created a book for everyone. However, instead of frustration with the dichotomies of language, Xu expresses a desire for harmony in his Square Word Calligraphy. He explains that his works “are all linked by a common thread, which is to construct some kind of obstacle to people's habitual ways of thinking—what I call the ‘cognitive structures’ of the mind.” Where previously influenced by the upheavals experienced during the Cultural Revolution, his work now focused on contemporary social concerns. The Philip and Patricia Frost Art Museum. Xu Bing Biography. The second edition hangs in four strands and each strand had to be reconfigured. "Brush and Ink: The Chinese Art of Writing," September 2, 2006–January 21, 2007. Lying in contrast to the humble origins of its components, the Phoenix pair is traditionally a symbol of union between male and female, the yin and yang. The artwork for the 2018 label reflects the artist’s work on the illusory splendour of appearances as manifested by his Square … In 1999, Xu Bing was awarded a MacArthur Fellowship in recognition of his “capacity to contribute importantly to society, particularly in printmaking and calligraphy.” In 2015, he was awarded the 2014 Department of State-Medal of Arts for his efforts to promote cultural understanding through his artworks. In this newest phase of artistic experimentation, Xu Bing poses an unnerving question that plagues contemporary post-industrial societies: Who is watching us? This complicated installation required a complete reworking as the first edition hangs in one chain. Britta Erickson, "Mistrust of Language and the Book from the Sky" in her Words Without Meaning, Meaning Without Words: The Art of Xu Bing (Seattle: Arthur M. Sackler Gallery, and University of Washington Press, 2001), p. 33–45. 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