6 Somewhere Beyond Rape and Adultery: the Development and Work 1 of Sun Yuan and Peng Yu David Elliott In the range, ambition and evolution of their work, Sun Yuan (b.1972) and Peng Yu (b.1974) have, like many Chinese artists of their generation, had to contend with the ethical vacuum of growing up within a deracinated society and culture that no longer really believed in itself. The heroic period of social transition from the end of the Cultural Revolution (1976) to a more intellectually open world was, for them, a fait accompli, turned to ashes by the events of 1989 and the prevailing cynicism that followed. In a critical, newly liberated, culture in which ideas of tradition, history or morality were no longer sustained by experience or consensus, ethics and the related question of aesthetics had been reduced to little more than a matter of opinion. In a climate like this they have had to be re-invented. Throughout their work Sun Yuan and Peng Yu have tested established standards of ethics and aesthetics. For them China in the 1990s was a twilight zone in which art must demand a human reaction. Provocatively, Sun Yuan has described the illicit, bitter-sweet response he seeks in art as: rape mixed with adultery. In making work to this specification, style is purely a mechanism through which different kinds of relationship material, spiritual, social, economic, political and others - are expressed. The inevitable lack of (1) Sun Yuan: Interview between Xu Tan and Sun Yuan and Peng Yu, com. visual cohesion that results from this represents neither vacillation of intent, nor a restless desire to discover a single correct way but, in fact, the opposite: each work is made in response to a particular series of conditions that are governed by two all-embracing, systemic questions: How is it possible to make art in a hypocritical and cynical post-totalitarian society? and How can an artist maintain integrity within an increasingly superficial and manipulative art world and market? In this sense both Sun Yuan and Peng Yu could be both regarded as artists who are engaged with the realities of life. Such questions inevitably lead to reflections on the nature of power (or force as they sometimes refer to it) on how it is disposed, politically, economically and socially, both in China and throughout the world and on what role, if any, art may play in channelling, challenging or deflating it. Here the act of representation becomes both a tool and a weapon. Through the invocation of paradigmatic, metaphorical or symbolic experiences and models, Sun Yuan and Peng Yu create a series of worlds in which assertive meanings are re-enforced through the ostensibly negative strategies of irony, paradox and sarcasm. Their work embraces a symbology and aesthetic that range freely over the traditions of both the Western world and Eastern Asia. The mimetic role of classical Hellenic art, as well as theories about the power embodied within it, 2 can be seen in both artists predilection for the expression of latent, chaotic or entropized energy. This is clearly expressed in their work by emblems of purity, power, or both, that are shown crushed, broken or degenerated. Civilisation Pillar (2001) is a four metre high classical column made up from the surgically removed body fat of different people mixed with wax, a related work One or All (2004), comprises a column of human bone ash leaning against a wall. More recently, a consciously more accessible Dying Angel (2009), shows a life sized fibre glass and silica gel model of an elderly angel who had crashed to earth, and the large installation Old Peoples Home (2007), is an expression of geriatric, about to be disembodied, power in which 13 generic political, military and spiritual leaders perambulate aimlessly, confined to motorised wheelchairs, occasionally bumping into each other like dodgem cars in a fairground. Recent disruptions in economic life are highlighted (2) As in the writings of the German Enlightenment philosopher Gotthold Ephraim Lessing, Laocoon. An Essay on the Limits of Painting and Poetry (1766) to which they have referred.
7 in the installation Occasional Awakening (2008) in which household objects are randomly thrown out of a window, presumably, as the artists imply, by the invisible hand of self interest divined by Adam Smith in The Wealth of Nations (1776) a force that governs both the acts of man in the world and the movement of goods and money in the market. Although there is no obvious orientalism in the potentially punitive reversals of power that characterise Safe Island (2003), in which the audience has to negotiate a tiger s cage to enter the gallery and is then surrounded and continually observed by the pacing beast, there is an inevitable reference to the form and representative power of the tiger in classical Chinese mythology, medicine and art. Freedom (2009) was conceived and exhibited in Beijing to coincide with the twentieth anniversary of the June 4th Incident and the suppression of the Student Democracy Movement. Here the libertarian ideological implications of the writings of J.J. Rousseau, Tom Paine, the Marquis de Sade and Mao Zedong collide when water pumps sporadically under high pressure through a vast hose suspended in a gallery space, making the hose jerk and the water spurt randomly in chaotic arcs. The force within this unpredictable water cannon calligraphically animates both hose s and water s snake-like forms with a painterly energy that, like a brush stroke in a Chinese landscape, can be appreciated aesthetically - so long, that is, as one is neither being beaten nor soaked by it. A number of Sun Yuan and Peng Yu s earlier works included dead animal and human remains in ways that have been conceived as both callous and sensational. Certainly, the presentation of such material was intended to disorientate the viewer by confusing the borders between life/death and art but, more significantly, it also focused attention on what it means to be alive, a concern that is still very much at the centre of their work. Soul Killing (2000) consists of a mounted running greyhound with smoking, scorching light from a high wattage bulb focused through a magnifying glass onto its skull. In the performance Linked Bodies (2000), the artists sat on chairs linked by intravenous tubes to the foetus of conjoined twins; as the blood spilled out of the tubes into the mouths of the unborn and then down their bodies, it seemed as if the artists were trying to propitiate death through their own combined life force. 3 (3) This work was shown at the exhibition Indulge in Pain curated by Li Xianting at the Central Academy in Beijing in By illuminating the rictus of oblivion, by using, and possibly abusing, now empty containers of life, the artists privilege the whole notion of life force and its relation to the body. Is the body purely a transient channel where a spirit may temporarily repose to be reborn again, as Buddhists maintain? Or, according to the materialist beliefs in which they were brought up, is death final and can the soul, if it exists, really be killed by a process of systematic obliteration? 4 One feels that these are sincere questions, asked out of a sense of uncertainty, at times, even of anguish. In Dogs that cannot touch each other (2003) (aka Controversy Model) four pairs of (this time live) pit bull terriers face each other tethered on treadmills in a dramatic model of competitive proto-capitalist society. Running and barking furiously, they are prevented from reaching or biting each other in spite of their strongest desire and efforts, and when exhaustion sets in they are separated. In this, as in the rest of their works, the artists are looking at an order that is also an ecology, 5 They are acutely aware that this order may not fit with conventional hierarchies but, knowing that it is based on power and that power has an ecology of its own, they present it more as a reflection of fears or suspicions about what could actually be the case. In Hong Kong Intervention (2009), first shown in full at the 17th Biennale of Sydney in 2010, the artists have turned their attention to the ecology of economic migration in a more light-hearted, open and participatory way. About four to five million Filipinos work in different countries throughout the world and the remittances they send back to their families help keep the home economy afloat. In Hong Kong, Filipinos comprise a large underclass of domestic help that gathers once a week during their afternoon off. To make this work Sun Yuan and Peng Yu invited 100 of these workers to photograph a favourite scene at their place of work, giving them a disposable camera. There were, however, two conditions: that a toy hand grenade they were also given should be included as part of the photograph, and that their anonymous portraits, taken by the artists from behind, should be exhibited alongside them. No payments were given by the artists to the workers, other than a copy of their prints. Within this not very convincing structure of subversion, potential terrorist threat, and (4) See Joseph Ng, With Animalistic Vividness, Sun Yuan and Peng Yu: Can t Have it All, (ex. cat.), Beijing 2009 (5) Ibid.
8 anonymity, in images that parody the styles of both anthropological and criminal photography, the true artists are the individual domestic servants who through their wit and aesthetic sense have composed a series of domestic still-lifes that reflect not only the lifestyles and social mores of the Hong Kong middle and upper classes but also highlight discrepancies of economic and social power. But, significantly, there is humour rather than anger in this work. Again, the picture presents a whole ecology, and who can be blamed for that? Many a pet dog is confounded by the presence of the toy grenade, which also finds itself nestling by library shelves, toilet seats, coffee tables, play pens, mantelpieces, bed rooms, drinks cabinets, desks and settees. It is as if this interloper has become a surrogate time bomb that can equally signal the effects of poverty or inequality and the transformative power of aspiration in a world in a state of profound economic and social change. In this, just as was the case with Sun Yuan and Peng Yu s earlier works, the conventional world has been turned upside down with sour-sweet compulsion mixed with desire. As activist artists they trigger us to think and look critically and to enjoy the world for what it is. In Hong Kong Intervention penetration (of ideas of home, privacy, social relations) has again definitely taken place, but no one has been raped or has had to tell lies in the process. Its coquettish lightness, even seduction, is just another way of thinking about truth. Sydney, April We are interested in how to invade and occupy a community; what are the possible ways that are covert yet effective. The occupation do not have to be militaristic in nature, nor do they need to serve a higher purpose. However, they cannot solely rely upon the concept or a hypocritical self fulfillment. The theoretical approach must be able to be turned into realistic practice, thus creating an alternate reality within the world. Therefore, in order for the project to happen in the most reasonable context, we must first understand the essential social connections and practical issues already given within the community. Although the artwork is merely a final product for the project, what we believe, however is that the idea behind would transcend itself to be a model that can be implemented by others, of what we call an intervention. Sun Yuan Peng Yu 強暴與通姦之外 : 孫原和彭禹的成長及其作品 David Elliott 與許多同時代的中國藝術家一樣, 孫原 (1972 年生 ) 和彭禹 (1974 年生 ) 作品所涉及的範圍 表達的理想與發展過程表明, 他們生長在一個信仰缺失的墮落社會和文化中, 必須與由此產生的道德真空做鬥爭 在他們看來, 文革結束 (1976 年 ) 後中國向知識上更開放的社會轉型已成往事, 在八九事件以及隨後普遍的憤世嫉俗情緒前灰飛煙滅 在一個新近 解放了的 文化中, 傳統 歷史與道德不再由經驗或普遍認同的理念支撐, 道德和美學問題淪為簡單的意見之爭 這樣的環境使他們不得不對其進行再創造 孫原和彭禹在創作中不斷對既有道德和美學標准進行測試 對他們來說,20 世紀 90 年代的中國處於一片灰色地帶, 藝術要求得到人的回應 孫原以挑釁的口吻把他在藝術中追求的不正當 苦樂參半的回應稱之為 強暴與通奸的結合 為使作品達到這種效果, 他把風格作為一種純粹的工具, 以此表現各種不同的關係 物質的, 精神的, 社會的, 經濟的, 政治的等等 這種做法不可避免地使作品在視覺上不連貫, 但這種不連貫並不是因為藝術家態度搖擺不定或者一心想找到唯一一條 正確路線, 恰恰相反, 每件作品都是對一系列具體情境的回應, 而總攬全局的是兩個大問題 : 如何在一個虛偽 厭世的社會中從事藝術創造? 以及 當藝術界與市場變得越來越膚淺時, 藝術家如何保持人格完整和獨立? 從這個角度上講, 孫原和彭禹都可被視為參與現實生活的藝術家 上述兩個問題自然引出了對權力 ( 有時他們稱其為 強力 ) 的看法, 包括中國以及世界其他各國在政治 經濟和社會領域對權力的運用模式, 以及藝術在引導 挑戰或戰勝權力方面能夠發揮什麼樣的作用 在這裡, 表現手法被同時作為手段和武器 通過運用典型的 比喻的或像徵性的經歷或模型, 孫原和彭禹創造了一系列作品, 以諷刺 悖論 挖苦等看似負面的策略來強調正面的信息
111 Embedded Patrick D Flores That Filipino domestic workers in a transitional society like Hong Kong constitute a community is immediately apparent. And it becomes markedly so when they do not work. On their day off, they come together in public spaces from squares to churches to malls: sharing food, telling fortune, fixing hair, hearing mass, consoling each other with stories of home, in other words, congregating. After this fleeting moment of being together, they disperse: they return to work in a foreign country, confined to their precincts of routine. Two Chinese artists Sun Yuan and Peng Yu poach on this sphere, habitus if you will, and cast this presence, in fact, heighten it. Sun Yuan and Peng Yu ask Filipino domestic workers in Hong Kong to plant a bomb in the houses they keep, anywhere but their own bedroom, photograph the still-life of sorts, and then pose with their backs facing the camera in a site of their choice. In this project, the classic tension between purity and danger emerges cogently because it intrudes on space in which another form of anxiety takes place: between intimacy and estrangement, anonymity (facelessness and uninhabitedness) and incursion. What sparks this process is the faux bomb in a time of terrorism and its many wars. In the Philippine language, bomb is bomba, a term that is layered and highly inflected. Its Hispanic lineage is obvious from which other meanings spring. It could mean the soft-porn film prevalent during the Martial Law regime of Ferdinand Marcos in the seventies, a genre that became very popular in one of the world s most prolific film industries. It could also mean the style of oratory of Filipino traditional politicians, a kind of bombast that always threatens to drop a bombshell. In both cases, sex and politics, an excess of skin and speech converge to form a metaphor of rupture for the era. All this settles on an uneasy calm in the pictures of this project in which Filipinos surreptitiously compromise the privacy of their employers whose secrets, whose interior life, they probably know to heart. It is reported that a tenth of the Philippine population is out of the country and keeps the economy afloat by sending back home around thirteen billion dollars a year in remittances. The body of the Filipino is a ticking migrant cocktail in the inner sanctum of masters, embedded as device. From the conjuration of a gathering, therefore, comes the rendering of a force. But it is more than that; the said gathering exceeds its being mere multitude. It becomes a threat on the cusp of a blast. It is at this point that we may explore the basis of this intervention. Is it to endow these domestic workers with presence? Is it a question of visibility for them because, as the artists confide in an interview, they find them invisible in Hong Kong? If they are so in a realm that has been characterised by the likes of Ackbar Abbas as itself disappearing or dematerialising, all this seems to be suspended in ether, in spite of the agglomeration of capital in a global city like Hong Kong. Both city and its housekeepers are hovering, floating. There is, indeed, flimsiness about Hong Kong, which in earlier climes in Manila was imagined as holiday, vacation, shopping time and city. It is still in some ways today, but with a marked shift: it has become a place of work for Filipinos. Abbas argues that in Hong Kong: [T]he sense of the temporary is very strong, even if it can entirely be counterfactual. The city is not so much a place as a space of transition. It has always been, and will perhaps always be, a port in the most literal sense a doorway, a point in between even though the nature of the port has changed. A port
112 city that used to be located at the intersections of different spaces, Hong Kong will increasingly be at the intersections of different time or speeds. 1 Such wayward energy generates what Abbas intuits as decadence, one that is immersed in economy and its prolific, ravenous exchange. His interjection is salient here because it invokes Hong Kong and summons the spectre of China as a master narrative in the discourse of totalising systems such as socialism and capitalism, specifically playing out under the aegis of globalisation or the claims to the global, and, surely, of hybridity as inscribed in the phrase two systems, one country. It likewise references China to the degree that the latter has occasioned the transition, from British colony to an administrative region to inevitably an inextricable part of mainland. Like Hong Kong, the Filipinos in this project by Chinese contemporary artists, whose stature in the liquid art world of Beijing is robust, are caught in between. The question now is: Does this situation enable them to transcend this liminality? Or is this liminality to be desired as the teleology of the global experience? And what about the decadence of the interior as contrasted with the privation of the external, export, expatriate labour, of the wealth of Victoria Peak and the austere quarters of servants elsewhere? It is the locus of work, therefore, that becomes contentious and, concomitantly, the time of not working. The place of work is home, another person s home in another country, and for women, this assumes melancholy as they take on the role of surrogate home makers and even mothers in a type of work that has been thought of as feminine or feminised. It is intimate, private, internal, and the Filipino has access to nearly every cranny of it. It is this physical and conceptual space that ultimately becomes not exclusive to the owner of the property as they leave it and their children, too on the Filipino s watch when they go to work. Perhaps like the woman of colour bearing flora in Manet s seminal Olympia, attending to the demimondaine who is starkly naked and fully fleshed out, the Filipino is the other within the world-picture. When the Filipina Flor Contemplacion, a domestic worker in Singapore who was accused of killing her fellow and the latter s charge, was hung, there was widespread outrage in Manila: the nation-states of the Philippines and Singapore were pilloried in the streets for the death of a maid deemed sacrificial. (1) Ackbar Abbas, Hong Kong: Culture and Politics of Disappearance (Minnesota: University of Minnesota Press, 1997), p. 4. How does art figure in all this? We take the cue from Jacques Rancière when he explicates the notion of the distribution of the sensible in relation to politics and aesthetics that involves a collection of sympathies and agencies, A community of sense is a certain cutting out of space and time that binds together practices, forms of visibility, and patterns of intelligibility. 2 And in this project by Sun Yuan and Peng Yu, we locate the zones of this radiation, of a community put in place, as it were, in their very area of work, though reiterated with potential catastrophe, or better still, the play with its possibility by way of contemporary art. First is the act: stealthy, clandestine, illicit. A servant s deed of planting a bomb in the master s abode is a breach in so many ways. It also threatens the doer, who might be taken to task for this violation. On the other hand, it is a brief moment of exercising judgment of taste in adornment and ornamentation, of redecorating the house, so to speak, ensconcing the bogus bomb in the lanai and the study, on the toilet seat and piano, close to the pet or the bronze sculpture, disrupting the interior design. Second, photographing the space with that bomb is highly incriminating, an instance of exposure in which a home becomes public knowledge/domain and subjected to the parasitic schemes of contemporary art. But as suggested earlier, the object and the scale of the bomb in relation to the structure allude to the order of the still-life, and therefore the sight becomes allegorical, and certainly not just in terms of the vanity that it intimates. It also provides perspective, carves out foreground and scenery, creates a proscenium of the theatre. The art historian Norman Bryson theorises, proceeding from the Dutch still-life, that the viewer of the still-life is related to the scene not only through a general creaturely sense of hunger and appetite, or of inhabiting a body with its cocoon of nearness and routine, but through a worldly knowledge that knows what it is to live in a stratified society, where wealth nuances everything, down to the last details. 3 This is one part of the picture. The other is the illusion, which is disclosed through an allegorical reading of the way in which it is constructed through the method of perspective. The latter serves to represent truth in painting by functioning as the foundation of a rhetoric of the image. Truth can thus be allegorically represented by means of the rhetoric of perspective. 4 This kind (2) Jacques Rancière, Contemporary Art and the Politics of Aesthetics, in Communities of Sense: Rethinking Aesthetics and Politics, ed. by Beth Hinderliter, et al (Durham: Duke University Press, 2009), p. 31. (3) Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting (Cambridge: Cambridge University Press, 1990), p (4) Hanneke Grootenboer, The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting (Chicago: University of Chicago Press, 2005), p. 162.
113 of thinking in visual terms is revelatory because it pierces through the veil of mystification and ferrets it out of the woodwork, prompting a scholar to claim that still-life painting in particular calls for an allegorical mode of looking because it calls attention to its two-dimensionality, thus undermining perspective s promise of depth. 5 In other words, the truth emerges ethically because the still-life lays it bare, because the Filipino bares it lain. Third, is the absence of the person represented by the face, which in Asian cultures is a privileged virtue. The body is faceless, with the subjects resisting the gaze. It is a display of defiance of sorts, and also of subterfuge. Here again, appearance and visibility become unnerving, with the Filipino being almost but not quite in the picture, yet standing his or her ground, cutting a telling silhouette. An anecdote by a viewer is symptom, In one photograph, the bomb sits in a fireplace below a clutch of framed family photographs on the mantle, threatening to blast to pieces the family of the worker s employers in an implicit reprisal for the ripping apart of family life by the poverty that drives many Filipinos abroad and into the master-servant relationship of domestic work. In the end, since Sun Yuan and Peng Yu have impinged on the global life world of Filipinos, we might want to ask about the method informing this initiation. In the same interview, they disclose that while the gesture was inherently ethnographic, there was no attempt on their part to immerse in the lives of the Filipinos or to read up on the extensive literature on the Filipino contract workers in Hong Kong or watch countless films about Filipino migrants wallowing in melodrama. There is some kind of detachment to be discerned in this foray that is bereft of sentimentality, quite akin to Poklong Anading s revisit to his mother s Sunday haunts when she was working in Hong Kong, consisting of static video documentation of her hang-outs, captured without nostalgia and seemingly with clinical indifference, thus the title Ocular. They asked go-betweens to talk to their respondents and sought their participation. They provided the cameras and taught them how to use the gadget. They collected their photographs of both the still-life and the pseudo terrorist but vetted them. The artists wanted a certain look, something minimal and not disposed to drama or embellishment, tendencies to which Filipinos generally respond. In (5) Grootenboer, 2005, p other words, the images were disciplined, too, the body hexis inculcated. Such a situation provokes discussion about the nature of so-called collaborations within ethnographic settings. The critic and theorist Claire Bishop dwells on this dilemma in a recent essay that reconsiders the ethical turn in collaborative art or in an aesthetic in which the community inheres or others are intrinsic. The commonplace view is that in such interactions, interventions have to be dialogic, nearly liberal and humanistic in the conception of responsibility and identity. Bishop thinks that the insistence upon consensual dialogue and sensitivity to difference becomes a new kind of repressive norm one in which artistic strategies of disruption, intervention, or overidentification are immediately ruled out as unethical, because all forms of authorship are equated with authority and indicted as total. 6 She adds that this fretfulness or reflexivity diminishes the art because it ultimately reverts to the antinomy of the personal rights of artists and the collective good that is larger than art and society, artist and subject, Such an aversion to symbolic disruption potentially signals the end of all courageous thinking and self-censors on the basis of second-guessing how others will think and respond. By contrast, I would argue that shock, discomfort, or frustration along with absurdity, eccentricity, doubt, or sheer pleasure are crucial to a work of art s aesthetic and political impact. 7 All told, this project is about photographing Filipinos photographing Hong Kong. Productively as material, they take to it in the context of a palabas, a performance, a spectacle of sorts, or just mere surface, a ruse, a veneer that obscures the real in a volatile, incendiary atmosphere. This is both conceptually interesting and saddening. After all, photography aside from palabas is also padala, an object to be sent home or abroad, a gift or an obligation, a claim to presence in the hurt locker of the global household, waiting to be defused or discharged. (6) Claire Bishop, The Social Turn: Collaboration and Its Discontents, in Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice, edited by Francis Halsall, Julia Jansen, and Tony O Connor (Stanford: Stanford University Press, 2009), p (7) Bishop, The Social Turn: Collaboration and Its Discontents, 2009, p. 247.
117 Sun Yuan 1972 Born in Beijing, China 1995 Graduated from the Central Academy of Fine Arts, Oil painting department 4th studio 1991 Graduated from affiliated high school of the Central Academy of Fine Arts Currently lives and works in Beijing, China SOLO EXHIBITIONS 2011 The world is a fine place for you to fight for, Galleria Continua, San Gimignan 2011 Galleria Continua, San Gimignano, Italy 2011 Vitamin Creative Space, Hong Kong, China 2009 Hong Kong Intervention, Osage Gallery Kwun Tong, Hong Kong, China 2009 Freedom, Tang Contemporary Art, Beijing, China 2005 Higher, F2 Gallery, Beijing, China 2004 Ghent Spring, Contemporary Art Financial Award, Ghent, Belgium GROUP EXHIBITIONS 2011 Vitamincreativespace, Hong Kong,China 2011 Trap,HanJiYun Contemporary Art Space,Beijing,China 2011 Art Issue Projects, Beijing, China 2010 Aichi the Capital of Celebration in Rem(A)indres, Galleriacontinua, Beijing, China 2010 ART HK 10, Hong Kong, China 2010 Rem(A)indres, Galleria Continua, Beijing, China 2010 Aichi the Capital of Celebration in 2010, Aichi, Japan 2010 Great Performances, Pace Beijing, Beijing, China 2009 Freedom, Tang Contemporary Art, Beijing, China 2009 Time Versus Fashion, Kunstverein Nuertingen, Nuertingen, Germany Days(Art Project), Santo Tomas University, Philippines 2008 Hunting Bird, T Space 798, Beijing, China st Century China Art between Identity and Transformation, Palazzo delle Esposizioni, Rome, Italy 2008 New World Order, Groninger Museum, Groningen, Netherlands 2008 Unmoved, Galleria Continua, Beijing, China 2008 Avant Garde China, The National Art Center, Tokyo, Japan 2007 餓 日 Contemporary Art Exhibition, Tang Contemporary Art, Beijing, China 2007 China Welcomes You, Kunsthaus Graz, Graz, Austria 2006 China Pavilion (Special Project), Liverpool Biennale 2006, Liverpool, United Kingdom 2006 Double sound Cracker, Tang Contemporary Art, Beijing, China 2006 Jiang Hu, Tilton Gallery, New York, United States of America 2006 Susi Future Fantasy, Metropolitan Museum of Manila, Philippine 2005 Mah jong, Contemporary Chinese Art from the Sigg collection, Kunstmuseum Bern, Switzerland 2005 To Each His Own, Zero Art Space, Beijing, China 2005 Ten Thousand Years Post Contemporary City, Beijing, China 2004 All Under Heaven, Ancient and Contemporary Chinese Art, The Collection of the Guy & 2004 Myriam Ullens Foundation, MuHKA (Museum of Contemporary Art Antwerp), Antwerp, Belgium 2004 The Virtue and the Vice (Le Moine et le Demon), Museum Art Contemporary, Lyon, France 2004 What is Art?, Shaanxi Provincial Art Museum, Xian, China 2004 Asian Traffic, Asia Australia Arts Centre, Sydney, Australia 2003 Second Hand Reality, Today Art Museum, Beijing, China 2003 Left Wing, Left Bank Community, Beijing, China 2003 Return to Nature, Shenghua Arts Centre, Nanjing, China 2001 Get Out of Control, Berlin, Germany 2000 Indulge in Hurt, Sculpture Research Fellow of Central Academy of Fine Arts, Beijing, China 2000 Fuck Off!, Donglang Gallery, Shanghai, China 1999 Post Sense Sensibility Alien Bodies & Delusion, Beijing, China 1998 Counter Perspectives: The Environment & Us., Beijing, China 1998 Inside, Tongdao Gallery, Central Academy of Fine Arts, Beijing, China Art Biennales Triennials th Biennale of Sydney, Sydney, Australia rd Moscow Biennale of Contemporary Art, Moscow, Russia 2007 Moscow Biennale of Contemporary Art, Moscow, Russia 2005 China Pavilion, The 51st Venice Biennale, Venice, Italy 2004 Gwangju Biennale 2004, Gwangju, Korea 2002 Guangzhou Triennial (inaugural show), Guangzhou Art Museum, Guangzhou, China 2001 International Triennial of Contemporary Art 2001, Yokohama, Japan th Biennale of Lyon, Lyon Museum of Contemporary Art, Lyon, France AWARDS 2001 Recipient of Contemporary Chinese Art Award of CCAA, Beijing, China
118 Peng Yu 1974 Born in Heilongjiang, China 1998 Graduated from the Central Academy of Fine Arts, Oil painting department 3rd studio 1994 Graduated from affiliated high school of the Central Academy of Fine Arts Currently lives and works in Beijing, China SOLO EXHIBITIONS 2011 The world is a fine place for you to fight for, Galleria Continua, San Gimignan 2011 Art Issue Projects, Beijing, China 2009 Hong Kong Intervention, Osage Gallery Kwun Tong, Hong Kong, China 2009 Freedom, Tang Contemporary Art, Beijing, China 2005 Higher, F2 Gallery, Beijing, China 2004 Ghent Spring, Contemporary Art Financial Award, Ghent, Belgium GROUP EXHIBITIONS 2011 Vitamincreativespace, Hong Kong,China 2011 Trap,HanJiYun Contemporary Art Space,Beijing,China 2011 Galleria Continua, San Gimignano, Italy 2011 Vitamin Creative Space, Hong Kong, China 2010 Aichi the Capital of Celebration in Rem(A)indres, Galleriacontinua, Beijing, China 2010 ART HK 10, Hong Kong, China 2009 Time Versus Fashion, Kunstverein Nuertingen, Nuertingen, Germany Days(Art Project), Santo Tomas University, Philippines 2008 Hunting Bird, T Space 798, Beijing, China st Century China Art between Identity and Transformation, Palazzo delle Esposizioni, Rome, Italy 2008 New World Order, Groninger Museum, Groningen, Netherlands 2008 Unmoved, Galleria Continua, Beijing, China 2008 Avant Garde China, The National Art Center, Tokyo, Japan 2007 餓 日 Contemporary Art Exhibition, Tang Contemporary Art, Beijing, China 2007 China Welcomes You, Kunsthaus Graz, Graz, Austria 2006 Double sound Cracker, Tang Contemporary Art, Beijing, China 2006 Jiang Hu, Tilton Gallery, New York, United States of America 2006 Susi Future Fantasy, Metropolitan Museum of Manila, Philippine 2005 Mah jong, Contemporary Chinese Art from the Sigg collection, Kunstmuseum Bern, Switzerland 2005 To Each His Own, Zero Art Space, Beijing, China 2005 Ten Thousand Years Post Contemporary City, Beijing, China 2004 All Under Heaven, Ancient and Contemporary Chinese Art, The Collection of the Guy & Myriam Ullens Foundation, MuHKA (Museum of Contemporary Art Antwerp), Antwerp, Belgium 2004 The Virtue And The Vice (Le Moine Et Le Demon), Museum Art Contemporary, Lyon, France 2004 What is Art?, Shaanxi Provincial Art Museum, Xian, China 2004 Asian Traffic, Asia Australia Arts Centre, Sydney, Australia 2003 Second Hand Reality, Today Art Museum, Beijing, China 2003 Left Wing, Left Bank Community, Beijing, China 2003 Return to Nature, Shenghua Arts Centre, Nanjing, China 2003 Participated in the Short Film Festival (French/Asian), Bangkok, Thailand 2001 Get Out of Control, Berlin, Germany 2000 Indulge in Hurt, Sculpture Research Fellow of Central Academy of Fine Arts, Beijing, China 2000 Fuck Off!, Donglang Gallery, Shanghai, China 1999 Civilization & Life, Beijing, China 1998 Counter Perspectives: The Environment & Us. Beijing, China Art Biennales Triennials th Biennale of Sydney, Sydney, Australia 2007 Moscow Biennale of Contemporary Art, Moscow, Russia 2005 China Pavilion, The 51st Venice Biennale, Venice, Italy 2006 China Pavilion (Special Project), Liverpool Biennale 2006, Liverpool, United Kingdom 2004 Gwangju Biennale 2004, Gwangju, Korea 2002 Guangzhou Triennial (inaugural show), Guangzhou Art Museum, Guangzhou, China 2001 International Triennial of Contemporary Art 2001, Yokohama, Japan th Biennale of Lyon, Lyon Museum of Contemporary Art, Lyon, France AWARDS 2001 Recipient of Contemporary Chinese Art Award of CCAA, Beijing, China
121 Director: Agnes Lin Director of Exhibitions: Eugene Tan Editor: Agnes Lin Assistant Editor: Sonja Ng Project Coordinators: Vivian Poon Khim Ong Design: Joseph Yiu, Osage Design Essays: Somewhere Beyond Rape and Adultery: the Development and Work of Sun Yuan and Peng Yu by David Elliott Translation by: Sinde Sun Khim Ong Embedded by Patrick D Flores Translation by: Venus Lau Published by 5/F, Kian Dai Industrial Building Hung To Road, Kwun Tong Kowloon, Hong Kong T: F: E: W: ISBN: First Edition, 600 copies Printed in Hong Kong Osage Gallery All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. The publisher does not warrant or assume any legal responsibilities for the publication s contents. All opinions expressed in the book are of the authors and do not necessarily reflect those of Osage Gallery.
CURRICULUM VITAE SUN YUAN 1972 Born in Beijing, China 1995 Graduated from the Central Academy of Fine Arts, Oil painting department 4 th studio 1991 Graduated from affiliated high school of the Central
Doreen Virtue, Ph.D. Charles Virtue C o n t e n t s...7... 15 1. Acceptance... 17 2. Allow Love... 19 3. Apologize... 21 4. Archangel Metatron... 23 5. Archangel Michael... 25 6. Ask for a Sign... 27 7.
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