Bai yiluo biography sample
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Bai Yi Luo Contemporary Photographer Artist of China
Photography is a new, emerging force in the development of contemporary art in China. China’s leading photographers have made an astounding transition during the past decade, from using photography as a socio-documentary tool to creating cutting-edge conceptual photographic art, even as the general public pays less attention to its current artistic photographers than to its more renowned contemporary painters. Nevertheless, the art world is taking notice of this talented group of photographer-artists. Among them is Bai Yiluo, an pioneer whose work presents a new, original view of the world.
Bai Yiluo is a genteel and modest person, and his early “calligraphic” work flyga eller fly undan Head Scrip reflects his character there is a Chinese saying: the writing mirrors the writer. In this work, in place of an ordinary artist’s signature, Bai uses a humble red stamp with the two carved characters for jun zi (gentleman). This stamp is not a tradition
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Appropriately enough at this tail end of the lunar new year celebrations, the review I wrote of Lindy Lee's survey exhibition 'Moon in a Dewdrop' at the Museum of Contemporary art back in December has been published in Randian this week. It's timely too, because her new solo exhibition at Sullivan and Strumpf has just opened - more on that show soon. And given that Facebook has exercised its unscrupulous might over the Australian government and blocked ALL news from its platform in Australia, it means that freelance writers and academics can no longer post links to their articles: posting references and links on this blog is now one of the few ways for me to share my writing with others who are interested in kinesisk contemporary art, including the art of the diaspora and of Australian/Chinese artists.
So my piece for Randian began with a anställda reflection: Lindy Lee and inom are of the same generation, and although our experiences and cultural heritages are quite dist
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Lee Mingwei and His Relations: The Legacy and Deviation of Relational Aesthetics In The East, by Matthew Carver
“Beauty” and “dreamscape” are not buzzwords in today’s critical-art discourse. And yet they describe the Mori Art Museum’s Lee Mingwei and His Relations: The Art of Participation – Seeing, Conversing, Gift-Giving, Writing, Dining and Getting Connected to the World, an exhibition that’s nothing short of a reassessment of relational art. Mori museum director Fumio Nanjo notes the exhibition’s timeliness, linking it to the growing importance of human connections regarding both social media and new forms of connection, and regards these connections and bonds to have provided support after Japan’s earthquake. An Eastern viewpoint centered in Zen Buddhism is also cited, dramatically highlighted mid-show with an exhibition within the exhibition, Works for Relationality. Curator Mami Kataoka’s presentation of Lee Mingwei transcends the character of a broad m