Cai Guo-Qiang Honored At The 2016 Japan Foundation Awards

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Left to right: Hiroyasu Ando (President of the Japan Foundation), Cai Guo-Qiang and his wife Hong Hong Wu. Photo courtesy of Cai Qiongzhu

On October 18, Cai Guo-Qiang received the 2016 Japan Foundation Award in Tokyo, becoming the second artist after Ikuo Hirayama (1930 – 2009) to be honored with this award. Hundreds of distinguished guests attended the ceremony, including diplomats from 60 countries and 25 members of the Japanese House of Councilors. This year the Japan Foundation Award was also presented to Professor Susan J. Pharr (Edwin O. Reischauer Professor of Japanese Politics and Director, Program on U.S.—Japan Relations, Weatherhead Center for International Affairs at Harvard University) and to the institution Centro Brasileiro de Língua Japonesa (CBLJ) in Brazil.

The annual Japan Foundation Awards were created in 1973 by the Japan Foundation, an independent administrative institution under the supervision of the Japanese Ministry of Foreign Affairs. With a 44-year history, the Awards comprise of a grant of 3 million yen. Over the years, they have been given to individuals as well as organizations that cultivate a mutual understanding and friendship between Japan and the world through academic, artistic, and other cultural endeavors. Previous notable Japanese recipients include Akira Kurosawa (1982), Seiji Ozawa (1988), Hayao Miyazaki (2005), and Haruki Murakami (2012).

The Japan Foundation devotes its attention to artists who contribute to promoting cultural exchange between Japan and other countries. On this occasion, the Foundation is recognizing Cai’s artistic practice around the globe, through which he creates works that integrate Eastern worldviews in dialogue with various regions including the Middle East and South America. Cai has always had a prominent presence in Japan. Since the Great East Japan Earthquake in 2011, he has sponsored the Iwaki Manbon Sakura Project. In 2015, his large-scale solo exhibition There and Back Again opened at the Yokohama Museum of Art, and more recently in March 2016, he initiated an collaborative project in which he invited craftsmen to build a wooden boat in the pond in front of Todaiji Temple in Nara, alluding to the possibility of Japan and China “sailing” with each other’s support. The Japan Foundation not only recognizes the artist’s efforts in connecting different regions and civilizations, but also honors his contribution to consolidating a global culture that transcends national boundaries and artistic practices.

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Cai Guo-Qiang speaking at the award ceremony. Photo courtesy of He Yilan.

The President of the Japan Foundation Hiroyasu Ando presented the Awards and the Chinese Ambassador to Japan Cheng Yonghua attended the ceremony. In his reception speech, Cai stated:

“Every visit to Japan is a chance for me to think about the East, about Asia. In particular, the philosophical and artistic methodologies I’ve created with friends in Japan—methodologies that are multifaceted, harmonious, and coexist with nature in an East Asian context—have allowed me to move freely within different cultures, and create art in collaboration with different people.

I remember phoning Japanese costume designer Eiko Ishioka, inviting her to act as the director of costume design for the Beijing Olympics opening ceremony…To reassure her, I arranged for her office to be next to mine, so she only had to knock on the wall and I would be right over. I also asked my daughter, who speaks Japanese, to be her assistant, helping her out with her stay in China. The collaboration between Eiko Ishioka and the Chinese artists created the tremendous success of the Olympic opening ceremony.

A few years later, she passed away from an illness. Her husband told me that, in her final days, she had a picture of the ceremony director Zhang Yimou and myself up on the wall next to her bed.

Stories like the one I shared with Eiko Ishioka, as well as my experiences in Japan and throughout the world, all serve to prove how exchanges between individuals and cultures can transcend history, overcome political strife, and build a little bit of hope for the future.”

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Left to right: Hiroyasu Ando (President of the Japan Foundation), Hong Hong Wu, Cai Guo-Qiang, and Cheng Yonghua (Chinese Ambassador to Japan). Photo courtesy of He Yilan.

 

For More Information
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www.facebook.com/cgqstudio/
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My Stories Of Painting Opening In The Netherlands

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Cai Guo-Qiang, Boy’s Doodle: Drawing for the 25th Anniversary of the EU in Maastricht, 2016. Gunpowder on paper, 138 x 214 cm

Cai Guo-Qiang: My Stories of Painting
September 29 2016: Exhibition Opening and Presentation of the Bonnefanten Award 2016

Maastricht 23.08.2016 – On 29 September, the Bonnefanten Award for Contemporary Art 2016 (BACA) will be presented to Cai Guo-Qiang (1957, Quanzhou, Fujian, China). The BACA is the most important award for international visual art presented in the Netherlands, and it is awarded every two years since 2000. Consisting of a sum of 50,000 Euros, a publication and a solo exhibition, the Award is a tribute to a living non-Western artist with an exceptional oeuvre and a demonstrable influence on other artists, exhibition makers and art professionals. The Bonnefantenmuseum is presenting Cai Guo-Qiang’s first solo exhibition in the Netherlands: My Stories of Painting  (30.09.2016 – 01.05.2017)

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Left: Cai Guo-Qiang, Self-Portriat, 1983. Oil on canvas, 40 x 31 cm. Photo courtesy of Cai Studio. Right: Cai Guo-Qiang with Ascending Dragon: Project for Extraterrestrials No. 2, Japan, 1989. Photo courtesy of Cai Studio

Cai Guo-Qiang: My Stories of Painting

My Stories of Painting is the first exhibition that will focus on Cai’s long journey of painting in terms of two parallel paths. The first traces his restless exploration in painting by presenting over a hundred works of various periods, scales and mediums — many of which are shown for the first time. The exhibition begins with his time in China: watercolours and oil paintings, school assignments, experimental paintings, and oil paintings with gunpowder; followed by his time in Japan: paintings created only with gunpowder, and gunpowder drawings for explosion events; it then moves on to his time in New York and the global stage — works reflecting his unique challenge to the issue of painting through his consistent artistic methodology, including recent pieces following his return to creating independent gunpowder paintings. Evolving from black gunpowder to color gunpowder, this new stage registers the artist’s unrestrained pursuit of his childhood dream to become a painter as well as his confrontation with the integral challenges of contemporary painting.

The second path is that of his family: his grandmother, parents, wife, and daughters. Through their paintings, photography, and other works, viewers can see how generation after generation, the artist’s family accompanies and mutually influences Cai. In addition to the exhibition’s scholarly consideration of the artist’s paintings, the viewers will experience the intimate and arduous sides of a painter’s journey. Crossing the boundaries between cultures, the exhibition will resonate widely with audiences, and will be an important milestone in Cai’s decades-long exploration of painting.

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Top: Cai Guo-Qiang’s father teaching his grandmother calligraphy, Quanzhou, date unknown; Cai Ruiqin (Father), Untitled (Matchbox Drawings), date unknown. Ink, pen, and pencil on cardboard matchboxes, dimensions variable; Painting of Ci-En Temple where Cai Guo-Qiang’s mother would go to pray. Photo by Ron Amstutz, courtesy of Cai Studio*Bottom: Hong Hong Wu (Wife), Sea Breeze, date unknown. Oil on canvas, 33 x 46 cm; Wenhao Cai (Younger Daughter), Wenhao’s Dream: Creative Sketches for Shanghai Disney Resort, 2015. Set of 26 drawings; oil pastel on paper; each 21.6 x 27.9 cm; Wen-You Cai (Elder Daughter), With the Whole Family, in Preparation of Burning Grandfather’s Paper House for his Afterlife, 2016. C-print; 40.6 x 61 cm. Quanzhou, China.
*All other photos Courtesy of Cai Studio.

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Cai Guo-Qiang, Poppy Series: Hallucination No.1, 2015. Gunpowder on canvas,183 x 608 cm. Private Collection.

Catalogue

Cai Guo-Qiang: My Stories of Painting will be accompanied by a catalogue of the same title, available in English and Dutch published by Walther König Publisher. It includes essays by Cai Guo-Qiang, Bonnefantenmuseum director Stijn Huijts, as well as the former director M+ museum in Hong Kong, Lars Nittve.

Bonnefanten Award for Contemporary Art (BACA) 2016

In presenting the exhibition and publication by BACA laureate Cai Guo-Qiang, the Bonnefantenmuseum is once again drawing attention to an exceptional and influential oeuvre within contemporary art and introducing the public to a relevant, yet for many people an unfamiliar chapter of art history. Cai Guo-Qiang was awarded the BACA 2016 by a unanimous vote. The international selection committee for 2016 comprised of Cao Fei (artist), Stijn Huijts (Bonnefantenmuseum director), William Lim (architect, collector), Carol Lu (curator, writer), Lars Nittve (former director M+ Museum Hong Kong) and Uli Sigg (collector).

Invitation to the press preview

The museum invites members of the press to the preview of Cai Guo-Qiang: My Stories of Painting on Thursday 29 September between 11:00am – 12:30pm. Please rsvp via pressoffice@bonnefanten.nl. For further information and visual material, please contact Lieke Heijmans, +31(0) 6 27 494 829, heijmans@bonnefanten.nl.

For more information about the artist and the exhibition, please visit:
http://www.caiguoqiang.com/
http://www.bonnefanten.nl/en/

Support

The BACA and Cai Guo-Qiang: My Stories of Painting receives generous support from the Province of Limburg, DSM, the Bankgiro Loterij, the Mondriaan Fund,  the VSBFonds, the Prins Bernhard Cultuurfonds and the Cultural Heritage Agency of the Netherlands.

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Sky Ladder: The Art of Cai Guo-Qiang Receives Critical Acclaim Following Worldwide Release

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Film stills taken from documentary Sky Ladder: The Art of Cai Guo-Qiang, all images courtesy Netflix

On October 13, 2016, Sky Ladder: The Art of Cai Guo-Qiang—the first full-length documentary feature on Cai Guo-Qiang—premiered at Sotheby’s New York headquarters, attended by more than two hundred distinguished guests. As of October 14, the film appears in cinemas in New York and Los Angeles and is distributed in 190 countries via Netflix. Sky Ladder instantly caught the attention of the press and was reviewed by nearly fifty publications including The New York Times, The Los Angeles Times, The Wall Street Journal, The Guardian, and Vogue.

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“Some of Cai Guo-Qiang’s art exists for mere moments. But my, how long it sticks in the mind. That enchantment is at the center of ‘Sky Ladder: The Art of Cai Guo-Qiang,’ a documentary that is as rewarding as this artist’s work.”
“It’s no spoiler to reveal that ‘Sky Ladder,’ the art project, eventually succeeds, and its fleeting existence is magnificent. It says something about the work, and perhaps about life, that brevity adds an element that’s both magical and saddening.”
“Though if you watch Mr. Cai’s works on video, you can always rewind.”  —The New York Times

“A documentary that begs to be seen in a theater…‘Sky Ladder: The Art of Cai Guo-Qiang’ offers an inviting glimpse into the life of a truly international artist, one whose colorful fireworks displays literally paint the air…Kevin Macdonald’s beautifully shot, quietly hovering portrait is of a pensive, dogged man…”  —The Los Angeles Times

“The documentary Sky Ladder: The Art of Cai Guo-Qiang was shot by Wes Anderson collaborator Robert Yeoman, who captures the beautiful, cacophonous (even terrifying) explosions, and the more sedentary moments of Cai’s everyday life with equal grace.”  —Vogue

“Nothing typifies the toweringly celestial ambition of the Chinese contemporary artist Cai Guo-Qiang than his ‘sky ladder’, a project over 20 years in the making.”  —The Guardian

“Cai’s grandmother watches [Sky Ladder] unfold via an iPad, after which the artist breathlessly asks her, ‘Isn’t your grandson awesome?’ It’s a beautiful, touching moment that says more about the artistic urge than any scholarly tome ever could.”  —Hollywood Reporter

“Perhaps Cai‘s most compelling, personal work yet… As the massive sculpture ignites, it creates a fiery vision that miraculously ascends to the heavens…Chances to see such work in person are rare, but the film offers something even more special…”  —Artnet News

“Macdonald effectively draws lines between his subject’s past and his present, attempting to make sense of what his harshest critics see as self-serving contradictions. In a way, it’s all of a piece, embracing the best and worst of an ever-changing nation.”  —AV Club

“[…] the film hopes to catch the eye of Oscar voters. And frankly it stands a great chance of being nominated for Best Documentary, with its astute coverage of the artist, his groundbreaking work, his family, including his 100-year-old grandmother, and Mao’s China.”  —Blasting News

Sky Ladder: The Art of Cai Guo-Qiang is scheduled to be released in China in November.

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Watch the Film:
Online
: Netflix.com
In Theaters:
IFC Center (New York)
Show times: October 14 – 20, 1:15pm, 2:50pm, 4:25pm, 6:05pm
Address: 323 6th Ave, New York, NY 10014
Ticket purchase: http://www.ifccenter.com/films/sky-ladder-the-art-of-cai-guo-qiang/

Playhouse 7 (Los Angeles)
Show times: October 14 – 20, 11:00am, 1:00pm, 4:00pm, 6:00pm, 8:00pm, 10:00pm
Address: 673 East Colorado Blvd., Los Angeles, CA 91101
Ticket purchase: http://www.laemmle.com/films/41009

For More Information
http://www.caiguoqiang.com/
www.facebook.com/cgqstudio/
Or subscribe to the Cai Studio WeChat “Cai Guo-Qiang Studio”

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Sky Ladder: An Explosive Documentary On Artist Cai Guo-Qiang

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Sky Ladder: The Art of Cai Guo-Qiang is a narrative documentary film directed by Academy Award winner Kevin Macdonald and produced by Wendi Deng Murdoch, Hugo Shong, and Fisher Stevens. The 70-minute feature will debut as a Netflix original film, and will be available in over 190 countries starting October 14, 2016. It will be the first full-length documentary feature on Cai, one of the world’s most influential contemporary artists.

The documentary will also be on view in New York from October 14 – 20 at the IFC Center:
323 6th Ave, New York, NY 10014
1:15 pm, 2:50 pm, 4:25 pm, 6:05 pm
Tickets: http://www.ifccenter.com/films/sky-ladder-the-art-of-cai-guo-qiang/

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Known for his work with gunpowder and fireworks, Cai Guo-Qiang’s explosive artwork has long amazed audiences all over the world. His works, which include drawings, paintings, installations, and explosion events, have been exhibited in almost every major art destination around the globe. While founded in Eastern philosophy, his artistic projects adopt ever-expanding forms of artistic expression and interpretation that respond to local cultures, histories, and various issues in modern society.

Director Kevin Macdonald spent two years with Cai, taking an in-depth look at the artist’s work and daily life while following him from New York to Buenos Aires, Shanghai, Beijing, Liuyang, and his hometown of Quanzhou. Told through the eyes of family, friends, collaborators, art experts, and Cai himself, along with rare footage selected from the artist’s archives, Sky Ladder follows Cai’s meteoric rise on the international stage. It is a dazzling journey that culminates in his becoming an artist known for “lighting fires” all over the world: highlighted by the Opening Ceremony of the 2008 Beijing Olympic Games, his 2008 Guggenheim solo exhibition in New York, the 2013 explosion event One Night Stand on the banks of the Seine, the 2014 daytime explosion event Elegy in Shanghai—among many others. The film also delves into the harsh realities behind these spectacular visions: the struggles, compromises, vulnerabilities, love and family ties, as well as the artist’s complex and profound feelings toward his home and country.

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Top: Cai Guo-Qiang with his wife Hong Hong Wu and daughters arriving at Huiyu Island. Photo by Daxin Wu, courtesy Cai Studio; Bottom: Sky Ladder preparation process, 2015. Photo by Wen-You Cai, courtesy Cai Studio

At the heart of the film is Sky Ladder, a 500-meter ladder of golden flames that hissed and roared its way from the shore of a small fishing village in Quanzhou up into the blue sky and the infinite universe beyond. This is the realization of Cai’s childhood dream—a dream to connect with the stars—one that has been attempted multiple times around the world, and one that he never stopped pursuing despite countless obstacles. In June 2015, he made yet another attempt. At dawn, with help from Chinese technical experts and hundreds of local villagers, Cai dedicated Sky Ladder as a gift to his one hundred-year-old grandmother and to his beloved hometown.

A story of one individual artist and his singular dream, Sky Ladder is also a film about undeniably universal human emotions. It has the power to move audiences from any culture or nation, as proven by responses at both the 2016 Sundance Film Festival and the 2016 BFI London Film Festival.

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About the Filmmakers

Director Kevin Macdonald’s works include Academy Award Best Documentary One Day in September(1999), BAFTA Best British Film Touching the Void (2003), and Academy Award-winning feature film The Last King of Scotland (2006). Executive Producer Bennet Miller is known for directing Capote (2005), for which he was nominated for an Academy Award and a BAFTA; Moneyball (2011), which received six Academy Award nominations including Best Picture; and Foxcatcher (2014), for which he won Best Director at the Cannes Film Festival. Executive Producer Angus Wall is known for The Social Network(2010) and The Girl with the Dragon Tattoo (2011), for both of which he won the Academy Award for Best Film Editing. Producers include Wendi Deng Murdoch (television producer and co-founder of online art platform Artsy), Fisher Stevens (director and producer of over thirty films, including 2010 Academy Award Best Documentary The Cove), and Hugo Shong (Founding General Partner of IDG Capital Partners and renowned Chinese film producer). Assistant Director and Co-producer Xia Shanshan has worked with Cai Guo-Qiang for many years, and has produced numerous art documentaries including What About the Art? Contemporary Art from China (2016). Director of Photography Robert Yeoman is a longtime collaborator of world-renowned filmmaker Wes Anderson. He was the director of photography for numerous critically acclaimed features including Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014).

Show Times, New York, October 14 – 20:
IFC Center, 1:15 pm, 2:50 pm, 4:25 pm, 6:05 pm
323 6th Ave, New York, NY 10014
Tickets: http://www.ifccenter.com/films/sky-ladder-the-art-of-cai-guo-qiang/

For More Information:
http://www.caiguoqiang.com/
http://www.facebook.com/cgqstudio/
Or subscribe to the Cai Studio WeChat “Cai Guo-Qiang Studio”

 

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Happy New Year and Cai Guo-Qiang in Argentina

Dear Cai Studio friends,

We hope each and every one of you enjoyed a pleasant holiday season surrounded by your loved ones.

Cai and the team recently came back from Buenos Aires, where his exhibition Impromptu opened to the public at Fundación Proa and will remain on view until March 1, 2015. The exhibition includes new series of gunpowder drawings on paper and gunpowder paintings on canvas, as well as two new art installations. In conjunction with the exhibition, Cai will also create a new large-scale explosion event Life is a Milonga: Tango Fireworks for Argentina that will take place in front of Fundación Proa at Vuelta de Rocha on January 24, 2015.

For Cai’s statements about the exhibition and the explosion event in Buenos Aires, keep reading below…

Cai Guo-Qiang and volunteers rushing in to put out flames from ignition of gunpowder drawing Sentinels of the Enchanted Valley, Galpón de la Boca, Buenos Aires, 2014. Photo by Wen-You Cai, courtesy Cai Studio.

Cai Guo-Qiang and volunteers rushing in to put out flames from ignition of gunpowder drawing Sentinels of the Enchanted Valley, Galpón de la Boca, Buenos Aires, 2014. Photo by Wen-You Cai, courtesy Cai Studio.

“For this exhibition, I set a small but ambitious goal: How can I push myself and improve my gunpowder drawings?

In recent years, I have worked in different places around the world, initiating dialogues with different cultures and people through collaboration. By absorbing nutrients from the land I work in, I have perfected a methodology, which has allowed me to create a body of work that revolves around different themes with relative ease and familiarity.

My exploratory journey in Argentina has not been smooth. The more I learn about the country, the more confused I become. Her culture, the integration of immigrants with this piece of land have made me feel lost and perplexed. As my work here materialized in a more spontaneous and organic manner, the exhibition is titled Impromptu. Sure enough, the gunpowder here is difficult to handle: if I use too little, it does not catch on fire; however, if I use too much, it ignites with ruthless ferocity. At times, the bricks and cardboard that covered the drawing sizzled when they were cast aside after the explosion! Flames erupted time after time as I watched, and the drawings were set ablaze. The outcome was far from what I imagined; after this experience, I cannot help but admit that I do not have great control. Yet secretly I felt both a youthful impetuousness and an irrepressible excitement. It must have been twenty years since I last experienced this pain and pleasure simultaneously! I started to question myself –– why am I afraid of burning holes through the drawing? Don’t the burnt parts add to the presence of the medium itself? I saw more… and it may have opened another door to freedom.

Argentina and her people baffled me, bringing me both anxieties and surprises: the natural landscapes that are completely different from one another; the diverse styles of milongas and dancers; the guidance I received from choreographers and musicologists; along with the assistance and warmth of nearly 100 volunteers from Universidad Nacional de las Artes (UNA) and Instituto Municipal de Cerámica de Avellaneda.  Fundación PROA’s courage lies in that they are willing to go on an adventure with me, bearing the consequences of my impromptu works, which may or may not live up to the title of the exhibition. I am like a seed sown on this land, now growing and bearing fruit after absorbing the sunshine, water and love from the people here.”

The first work that visitors encounter in the exhibition is Life is a Milonga, an installation comprising of nine ceramic figurines of couples swaying in the air, dancing the tango to the recognizable rhythm of “La Cumparsita” playing melancholically from music boxes. From the ceiling, nine bar stools hang upside-down, supporting the swings that carry the figurines.

“After visiting several milongas, I observed several different types of behaviors: there were people sitting on the sides waiting to join the dance; people walking over to join the dance; and a mélange with people, lights and music of all sorts—dancers grouped in diverse combinations, swaying and moving in tandem. Through this installation work, I hope to express my uncertain yet boundless impressions of the milonga, and the lives of the people in it.

The swaying swings form a relationship with the music boxes, which play La Cumparsita at different speeds, as though they are vocalizing everyone’s thoughts, aspirations and sorrows. Associated with people’s childhoods and fantasies, the swings, too, have an air of mystique.”

A new series of gunpowder drawings inspired by Argentinian landscapes is presented in Gallery 2. The works reflect Cai’s impressions during his visits to the Misiones and Salta regions in the north of Argentina.

Exhibition view at Fundación Proa. Photo by Wen-You Cai, courtesy Cai Studio.

Exhibition view at Fundación Proa. Photo by Wen-You Cai, courtesy Cai Studio.

Sentinels of the Enchanted Valley, gunpowder on paper, 300 x 1600 cm. Exhibition view at Fundación Proa. Photo by Wen-You Cai, courtesy Cai Studio.

Sentinels of the Enchanted Valley, gunpowder on paper, 300 x 1600 cm. Exhibition view at Fundación Proa. Photo by Wen-You Cai, courtesy Cai Studio.

“The colossal sizes of the drawings turn them into spatial works, allowing viewers to enter the scene of the drawing. The content of each drawing and the relationship between them reflect the experiences I had when exploring the landscapes of Argentina, feeling the country’s land with my body and taking a stroll in its geographical and cultural landscapes. When making the drawings, I used my body to experience the landscapes again: the mountain ranges of Cachi, where fog constantly comes and goes, and the spiky cacti that absorb moisture from the fog; the boundless Iguazú Falls that have no beginning and no end; and the cemetery where the eternal “residents” slumber in harmony on the distant plateau of Cachi. There I met a family and helped them repaint their parents’ graves with a few strokes of new paint.

When I made the drawings, the paper was laid on the floor. I used my arms and hands to rub and push gunpowder; then I decided where to ignite the fuse and where to add weight on top of the drawing to intensify the explosion. This process allowed me to experience once more both the visible and the unseen energies in the landscapes, reinitiating my conversation with nature. The explosion enabled me to revisit the relationships in energy: the cascading waterfalls; the rising water vapor; the rain that follows; how they sculpt the movement in valleys and so on.”

The latest iteration of Cai’s ongoing exploration of painting traditions, a new series of six gunpowder paintings on canvas, titled Impromptu, is presented in gallery 3.

Impromptu, gunpowder on canvas, variable dimensions. Exhibition view at Fundación Proa. Photo by Wen-You Cai, courtesy Cai Studio.

Impromptu, gunpowder on canvas, variable dimensions. Exhibition view at Fundación Proa. Photo by Wen-You Cai, courtesy Cai Studio.

“These six works on canvas are a mystery and an unknown that I left for myself. When I work on an exhibition, I usually leave one gallery with an uncertain outcome, so I can surprise myself and create some anxiety for myself when encountering this unknown. I intentionally made the canvases tall and narrow, so the proportions are similar to altarpieces, alluding to Southern European Medieval and Renaissance painting. I referenced the atmosphere in paintings by El Greco—one of my favorite painters—and added tango dancers dancing at different speeds; I also selected images of nearly 100 small wooden animal carvings that I fell deeply in love with at Iguazú. The Guaraní people use burn marks on the wooden animal carvings, which inspired me to use gunpowder to create their images. Multiple timelines and diverse cultural characteristics appear in these vertical compositions. Although these disparate elements form a certain disharmony, they capture precisely my perception of and bewilderment toward Argentina. Because of this, I am most moved by the spirit and temperament of these works, brought about by these independent and chaotic energies.

It is thanks to the hard work and emotional intelligence of dozens of volunteers from the Universidad Nacional de las Artes (UNA) that these groups of works are grounded in this land.”

COMING SOON. SAVE THE DATE!

LIFE IS A MILONGA: TANGO FIREWORKS FOR ARGENTINA

January 24, 2015; 8pm

Ephemeral event to be realized at Vuelta de Rocha, La Boca, Buenos Aires
In front of: Fundación PROA
Av Pedro de Mendoza 1929
Buenos Aires
, Argentina

Proposal for Life is a Milonga: Tango Fireworks for Argentina, 2014. Courtesy Cai Studio.

Proposal for Life is a Milonga: Tango Fireworks for Argentina, 2014. Courtesy Cai Studio.

“My first visit to Buenos Aires took place in March of 2014. The history of Buenos Aires as a port deeply inspired me, and I was especially touched by the immigrant legacy of the neighborhood of La Boca and its rich cultural traditions. The idea of creating a tribute to Argentinean history and tango immediately emerged. La Boca’s creative past still reverberates at each street and corner. It is my hope to use this opportunity to invite the public of Buenos Aires to tap once again into this rich vein; hence my proposal combines the power of history, dance and contemporary visual art. Using my signature aesthetic language, the artwork will use fireworks as a medium and will actively engage the public as participants.

For Tango Fireworks, I am using a brand new approach to pyrotechnic design. During the creative process, I invited experts such as musicologists, choreographers and dancers to collaborate with me. I used video to record the dancers’ movements and the movement of the bandoneón from many different angles, so that I could use the dancers’ steps and body movements to design the fireworks. The fireworks will appear over the water of Vuelta de Rocha, imitating the dancers’ and the bandoneón’s motions. On January 24, 2015, the public will be invited to watch and dance along to Tango Fireworks in front of Fundación PROA, transforming Vuelta de Rocha once again into a pulsating hub of creative energy.

Vuelta de Rocha was one of the earliest ports of entry for immigrants in Buenos Aires, and it bore witness to the new migrants’ hope, disillusionment, anxieties and excitement. At this port, different cultures interwove to generate new traditions and artistic creations, and Tango is a great example of such an extraordinary phenomenon. By presenting the chronological development of the music and the dance, Tango Fireworks also attempts to reflect upon the sea of changes undergone throughout Argentina’s history as a nation over the twentieth century.”

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Elena Cue interviews Cai Guo-Qiang

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Cai’s dear friend Elena Cue recently interviewed Cai about his artwork, his process, and penned an article about his life. To read more about Cai’s development into an artist, the artworks of his past, and the ideas that inspire him now, visit the blog Alejandra de Argos. The interview is also available in Spanish on ABC.

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Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave

Elegy, chapter one of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes Photo by Zhang Feiyu, courtesy Cai Studio

Elegy, chapter one of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes
Photo by Zhang Feiyu, courtesy Cai Studio

On August 8, the opening day of the exhibition, Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave took place at 5 pm on the Huangpu River by the museum. The work was the first public large‐scale daytime ‘explosion event’ the artist realized in Mainland China. Conceived in three chapters—Elegy, Remembrance and Consolation—the ceremonial ‘explosion event’ projects an image of nature in decline.

Elegy, chapter one of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes.  Photo by JJY Photo, courtesy Cai Studio

Elegy, chapter one of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes
Photo by JJY Photo, courtesy Cai Studio

The first part, Elegy, opened with dramatic black and white smoke mines and cascade effects. Reminiscent of a funerary parade, black smoke “crows” with flapping wings represent the joys and sorrows in life. The scene then ended with green smoke, or “grass and weeds,” resembling an exhale, or a mournful sigh.

Remembrance, chapter two of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes.  Photo by JJY Photo, courtesy Cai Studio

Remembrance, chapter two of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes.
Photo by JJY Photo, courtesy Cai Studio

In Remembrance, colored smoke effects splashed across the sky, as though nostalgically recalling past events and friendships throughout the years.

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Consolation, chapter three of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes Photo by Zhang Feiyu, courtesy Cai Studio

Consolation brought warmth to the living; short, powerful spurts of aerials shells formed colored and white chrysanthemums in the sky, gaining speed for the finale. Yellow willows filled the horizon slowly, drawing the explosion event to a close.

In line with the theme of the exhibition, environmentally safe daytime colored smoke pyrotechnic products are used for the artwork; food coloring, food-grade powders, fabric dyes and other nontoxic materials are used as main ingredients.

Remembrance, chapter two of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes.  Photo by JJY Photo, courtesy Cai Studio

Remembrance, chapter two of Elegy: Explosion Event for the Opening of Cai Guo-Qiang: The Ninth Wave, realized on the riverfront of the Power Station of Art, 5:00 p.m., approximately 8 minutes
Photo by JJY Photo, courtesy Cai Studio

Cai Guo-Qiang: The Ninth Wave opened at the Power Station of Art, Shanghai on August 8, and will be open through October 26. 

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