The other day I went to the art exhibition in the National Museum of Singapore with Jing Ting to view Cai Guo Qiang’s art. The exhibition was held from July 2 – Aug 31, and addmission was free, of course.
After viewing it, I was and am greatly impressed by Cai Guo Qiang’s art and his unique art styles. The introduction of his works can be found below:
Cai Guo-Qiang (surname Cai) created a three-part work complex that reflects the diversity of his work and relates thematically to Berlin’s history and present.Like all other Deutsche Bank Collection projects, Head On was developed in close cooperation with the artist, who has lived in New York for eleven years. What is new, however, is that all three works were specially conceived for the museum and that major portions were produced on site in Berlin, including the large-format gunpowder drawing Vortex and the explosion project Illusion II contained in the exhibition’s video work.
Illusion II: Explosion Project
9:30pm, July 11, 2006
In October 2005, during his first stay in the German capital, Cai’s agenda included visits to Checkpoint Charlie, the Soviet Memorial, the remains of the Berlin Wall, and the memorial museum Topography of Terror. Inspired by the omnipresence of German history, he outlined three ideas for the exhibition. Together, their combined concept not only utilizes the unusual working mediums for which Cai is best known, but also addresses the city of Berlin in terms of content and the exhibition space in terms of form. The title work Head On lends its name to the exhibition and takes over most of the exhibition gallery in its physical volume. The installation consists of a pack of 99 life-sized wolves barreling in a continuous stream towards—and into—a constructed glass wall. Other works in the exhibition include the aforementioned 9 x 4 meter gunpowder drawing showing hundreds of wolves whose bodies form a giant vortex and the two-channel video work Illusion II.
Proposal drawing for Vortex, 2005
Ink pen on paper
The July 2006 explosion project, which provided the basis for the video work Illusion II, took place in the very center of Berlin. It required a large empty piece of property, and from the three proposed areas, Cai selected an approximately 30,000-square-meter empty lot at the corner of Stresemannstraße and Möckernstraße surrounded by office high-rises and residential buildings—typical, if it were not for the ruins of the Anhalter railroad station, towering as a mark of history in the background. Cai was fascinated by this detail, since it matched perfectly what Illusion II is about: a reflection, in his own words, on “the contradictory powers of violence and beauty,” on “destruction, glory, and heroism” in the history of Berlin. In accordance with the artist’s instructions, a small, “typical German house” was built on the lot with the professional support of the film studios in Babelsberg, just outside of Berlin. The house was then packed with fireworks and rockets of various types and with different effects to Cai’s design. On July 11, 2006, at 9:30 p.m., Cai Guo-Qiang gave the starting command. Against the setting sun in the evening sky and the Berlin cityscape, a magnificent spectacle ensued, lasting approximately 18 minutes. The event was captured on film and video cameras.
Production images of wolfes, 2006
The third and final piece in the exhibition, the gunpowder drawing Vortex, was created in mid-August in the atrium of the Deutsche Bank. Handmade paper was spread out on the floor, and the motifs were formed by a dozen varieties of gunpowder, topped with stencils and pressure-forming cardboards and rocks. The artist lit a fuse, and the drawing was ignited in a matter of seconds, producing an enormous white cloud of smoke. When the cardboard is removed, the new work reveals itself as a result of both planning and chance.
Cai Guo-Qiang was born in 1957 in the city of Quanzhou in Fujian Province, China, and is considered today to be one of the most important contemporary international artists. His works have been exhibited in major international museums, including The Metropolitan Museum of Art, Tate Modern, and Centre Pompidou. In 1999 Cai Guo-Qiang won the Golden Lion of the 48th Venice Biennial with Venice’s Rent Collection Courtyard. In 2005 he curated the first Chinese pavilion at the Venice Biennale. In 2008, his work will be featured in a mid-career retrospective at the Solomon R. Guggenheim Museum in New York and the National Art Museum of China in Beijing.
Production images of wolves, 2006
This is “Vortex”, a gunpowder drawing that depicts hundreds of thousands of wolves chasing each other in a circular motion.
These 99 life-sized wolves, were fabricated from painted sheepskins and stuffed with hay and metal wires, barreling in a continous stream towards – and into – a glass wall. Only the first ones crash into it, but the pack chases after the leader.The wolves were produced in Quanzhou, China, from January to June of 2006. The commissioned local workshop in Cai’s hometown specializes in manufacturing remarkable, life-sized replicas of animals. First, small clay models were created as movement studies, out of which Cai subsequently developed Head On’s artist editions of cast resin wolves. However, the realistic and lifelike 99 wolves that grew out of these models and drawings possess no literal remnants of wolves: they are fabricated from painted sheepskins and stuffed with hay and metal wires, with plastic lending contour to their faces and marbles for eyes.
The Head On art installation was really impressive, seeing those perfect replicas of the wolves in life size gives a great impact on the viewers, one might even be mentally prepared for the wolves to suddenly spring to life. I think the significance of creating such real wolves was to add on to not only the aesthetic value of the installation, but also the realistic feel to it. Standing in the middle of the exhibition, I feel as if I was sucked into the cycle of the wolves running. The strong sense of movement, as implied by the running postures of the wolves engages the audience, and one seems to be part of the cycle as well. To be able to walk around to scrutinize the the art is an added bonus because one is able to be in close contact with the wolves, again giving us a visual impact.
In addition, I think that the fact that all of the wolves are crashing onto the glass wall adds on a hint of humor to the whole installation. Chasing each other in a circular motion symbolises a never ending cycle in which the wolves, being animals, do not think of the consequences of following their leader foolishly. There is some political meaning regarding this, related to the Berlin Wall in Germany. The glass wall is a representation of the Berlin Wall.