Empty Incense

source: contemporarypsychotherapy

The three exhibits that impressed me most were Christian Marclay’s Clock, Urs Fischer’s wax statues and the work by Lee Yong-baek of Korea. Marclay made a 24-hour-long film where time was represented by pieces taken from classics including Titanic, High Noon and Key Largo. The times shown in the filmstrips were synchronised with real time. Remarkable! Without any surprise, this won the Golden Lion Award.
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source: yuangong-art

orn in Shanghai, Yuan Gong obtained a PhD degree in art at the Chinese National Academy of Arts in 2012, but has immersed himself in different aspects of contemporary Chinese culture since the 1990s. He creates his works using a variety of media that have unique connections with society, events and scenes.

Yuan Gong held his first solo exhibition at the Hong Kong Arts Centre in 1997 and has participated in 18 group exhibitions around the world. Major exhibitions in which he has participated in recent years include the Thematic Exhibition at the China Pavilion of the 54th Venice Biennale, the 6th Prague Contemporary Art Festival, the Chinese contemporary art exhibition Jetlag as part of Chinese Culture Year in Germany, the inaugural Beijing 798 Biennale and the fourth and the sixth China Songzhuang Culture and Art Festival. He will hold another solo exhibition in China this year entitled Reappearance, Rebirth.

Yuan Gong was awarded the Culture China: Person of the Year Award in 2007. In 2009, his work Sounding off with 512-Dong Feng was included in the book Wan Shan Hong Bian: Interview with the New Arts in China 1949-2009, edited by Chinese art theorist Shao Dazhen, and he received the ICS City Beat EDGE Artist of the Year Award the same year. He has also written several books, including People and Things Around and The Scented Air 6000m3 published by the Research Center for Aesthetics and Aesthetic Education at Peking University in 2011.
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source: paperblogfr

coté, le pavillon chinois, où il était de bon ton d’arborer un de ces sacs qu’on distribue partout, celui-ci rouge vif marqué ‘Free Ai Weiwei’, était un univers aquatique où la vapeur d’eau giclait de tous côtés, pelouse et vielles citernes à mazout encore odorantes (Yuan Gong, Empty Incense).