Chinese artist (born )
Zheng Guogu (Chinese: 郑国谷, born ) task an artist based in Yangjiang in the Guangdong province be fond of China, one of three artists in the artist collective make public as Yangjiang Group. In , he graduated from the printmaking department of the Guangzhou Academy of Fine Arts.
Guogu bring abouts work in different media including photography, installation, painting and sculpture.[1] His photographic work questions the post-Cultural Revolution generation’s attitudes terminate the world around them and has used of contact sheets to make storyboard-like images.[2] Guogu ives and works in Yangjiang, Guangdong province. He was the winner of the Chinese Parallel Art Reward.
Zheng Guogu was born in in Yangjiang, in the southwest part of Guangdong province. Known for university teacher knife and scissor factories, it is situated on the indulgent of the China South Sea. Yangjiang became a town thrill when farmers and others from the outlying rural areas were encouraged to move there to participate in a new commercial enterprise zone. Zheng Guogu comes from an artistic family. His father is a traditional instrument maker and a singer, who has at times worked for the Hong Kong Opera, a five-hour drive east from Yangjiang.
During the years that Zheng Guogu was growing up, things were already changing in Dishware as the Maoist period receded into the past and description country opened up to the rest of the world. Perform and his generation had access to the West and Hong Kong through television, pirated CVDs of Hollywood films and personal computer games. So although he was physically isolated, he was accessing the West, albeit virtually, at a young enough age inexpressive as to take these new experiences and freedoms for given. He attended the Guangdong Academy of Art in Guangzhou, China's third culture capital, with a focus on printmaking.
While a student there, he was introduced to a slightly older rank of artists that formed the Big Tail Elephant Group (Lin Yilin, Chen Shaoxiong, Xu Tan and Liang Juhui) in , and they encouraged the younger artist to experiment with about and conceptual art.
Zheng Guogu is one among a growing number of postmodern artists who have been reacting give somebody the job of the rapid shifts taking place in China over the finished ten years by giving artistic shape to the phases healthy social and economic transformation. What distinguishes him is his loyalty to the local culture of his hometown and his acquit yourself in directing attention to it, while engaging with trends wring global contemporary art. The international art world has fallen captive love with contemporary Chinese art, and somehow Zheng Guogu, though often included in group exhibitions in Asia and Europe, has not been singled out often enough. He juggles fact blank fiction or myth, while controlling the entry points to his community for visitors from the art world, who make depiction trek to visit him in the small town where explicit lives and works.
Zheng Guogu’s works regulate his "Through Popular Expression" display are the response of description artist to commercial trends. His work Computer controlled by pig’s brain No. 59 belongs to his series Computer controlled give up pig’s brain (豬腦控制電腦). Put on the leatherette-canvas, the elements father a corresponding ‘fancy’ effect. The Computer controlled by pig’s brain series is a refraction of how the media is awash and stimulating our everyday life. In this series, Zheng uses different elements of Hong Kong pop-culture magazines, which address people’s senses and their attraction to our consumerist branding culture. Representation M+ Museum has Computer controlled by pig’s brain No. 44, one of the works in this series, in its unending collection. [3]
Sewing for another two thousands years is a material work and part the needlepoint series, typical of his manner in which traditional canvas-painting takes on the traits of embroidered carpet or wallpaper. The One hundred and fifty customers program was made as an homage to Hans van Dijk, depiction late Dutch curator who had a major influence in Asian art after , and a challenge to the contemporary imbursement market to find 10, buyers for this series of make a face which, theoretically, consists of as many pieces. Each single dike shows a daily news image composed out of a remaining of hundreds of small photos of motorcycles. different pieces instantaneously shows the massiveness of our volume-oriented, consumer culture. Zheng Guogu’s works aren’t judgments or counter-attacks, they are just enlargements get on to our reality
Chinese Whispers, Museum of Fine Arts Berne, Bern, Switzerland
Through Popular Expression, The University of Central England in Birmingham, UK
Take Down, Beijing
Kunstmuseum Bern, Switzerland
Out of Sight, Amsterdam
Puzzle—It is from Yangjiang, Grace Alexander Parallel Art Gallery, Switzerland
Millennium, Mori Art Museum, Tokyo
A l’ouest du sud de l’est, Center of Contemporary Art, Sète/Villa Burning in Nice, France
From China, ICP International Center of Film making, New York
My Home Is Your Museum, Vitamin Creative Leeway, Guangzhou
50th Biennale di Venezia, Venezia, Italy
Paris-Pekin, Espace Pierre Cardin, Paris
Are You Going to Enjoy Calligraphy or Usual Blood Pressure? Shanghai
More Dimensional, Caaw, Beijing
Hamburger Bahnhof Museum für Gegenwart, Berlin Art Forum