Sonntag, 07.12.2014 2. Advent
Der Tag begann mit einem gemütlichen gemeinsamen Adventsfrühstück mit frischen Brötchen von Abendbrot, dem deutschen Bäcker. Sabine gab vor, nichts tun zu müssen, sie könne mit mir ins Museum fahren, alle anderen saßen gemeinsam am großen Tisch vor ihren Computern und arbeiteten. Um 13:00 Uhr stand das Auto vor der Tür und wir ließen uns zum Juz-Museum chauffieren, einem neuen Museum für zeitgenössische Kunst, im Süden der Stadt, am Ufer des Huangpo. Die Stadt breitet sich unvorstellbar schnell aus, alte Industriegebiete werden zu supermodernen Satellitenstädten umgebaut, eine beeindruckende Promenade am Fluss entsteht und hier ist in einem alten Flugzeughangar das Juz-Museum entstanden.
Der Sonntag war der letzte Tag der Ausstellung “Myth / History”
“Located on Shanghai’s Xuhui Riverside, the Yuz Museum represents the foundation of an emerging art scene in the West Bund Cultural Corridor. A unique architectural achievement, the YUZ museum boasts a total area of 9,000 square meters, with an old aircraft hangar-converted main gallery covering over 3,000sqm”
Curator for this inaugural exhibition is Prof. Wu Huang, the world famous art critic and Professor at the University of Chicago. The curatorial team of Yuz Museum Shanghai has gone great lengths to showcase the foundation’s collection in both a systemic and academic style. This exhibition focuses on the dialogue between “myth” and “history” with all works coming from the Yuz Foundation. Yuz Collection of Contemporary Art reflects the distinctive characteristics and directions of this important contemporary art collection, and further aims to explore some basic tendencies and logic in contemporary art, and how we construct its narrative. Comprising of more than 100 distinct works, the exhibition showcases a vast range of YUZ art collection – ranging from paintings and photography, to large-scale installations and sculptures.
Besonders gut haben mir folgende Arbeiten gefallen:
A giant copper Buddha hand by Zhang Huan (张洹)
A giant copper Buddha hand by Zhang Huan (张洹)
|a giant copper Buddha hand by Zhang Huan (张洹)|
Zhang Huan (Chinese: 張洹; born 1965) is a Chinese artist based in Shanghai and New York. He began his career as a painter and then transitioned to performance art before making a comeback to painting. He is primarily a performance artist but also makes photographs and sculpture.
Mona Hatoum “Inpenetrable“ 2008,
Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and now lives and works in London.
A delicate looking installation reveals its alter ego as a dangerous and impenetrable, barbed wire fenced, detached and alienated space.
Xu Bing „Tobacco Project“ 2000/2004
Xu Bing’s interest in “tobacco culture” extends to the historical impact of China’s large-scale exportation of tobacco products from the United States beginning in the late 19th century. For the Durham exhibition, he made a gigantic book of tobacco leaves that was gradually devoured by beetles during the course of the exhibition. For Traveling Down the River, he constructed a thirty-feet-long cigarette laid over a reproduction of a hand-scroll of the celebrated classical Chinese painting Along the River during the Qingming Festival. As the cigarette burned, it left scorch marks on the image, inscribing time as a serpentine scar and the journey as a residue of ash. An installation created in an abandoned tobacco plant near Duke included a recorded voice reading the medical records of Xu Bing’s father, who died of lung cancer, conveying a personal connection to tobacco and death. In exploring the complex connections between people and tobacco, the project ultimately concerns fundamental issues of human culture and of tobacco as a medium of social exchange.
Choe U-Ram „Custos Cavum“ 2011
Once upon a time there were two worlds. They were connected to each other through a number of small holes, as if the worlds were breathing through these holes. However, the holes had tendency to close up, so there were guardians next to each other to keep them open. The guardians were called “Custos Vacums”. They took the form of seals and had long frontteeth, which they used to gnaw the holes to prevent them from closing up. Whenever a Custos Vacum felt the generation of a new hole somewhere, it felt into a deep sleep. From the body of the quiet sleeping Custos Vacum grew winged spores called “Unicuses”. These spores took flight and flew to a new hole where it gave rise to a new Custos Vacum. As time went on, the people of each world gradually forgot about the other. The guardians lost their power and died, the lost hole closed, separating the two worlds completely. The existence of the other world was entirely erased from peoples memories.
Mauricio Cattelan “Olive Tree”
Maurizio Cattelan (September 21, 1960, Padova, Italy) is an Italian artist. He is known for his satirical sculptures, particularly La Nona Ora (The Ninth Hour), depicting the Pope John Paul II struck down by a meteorite.
Absolut scheußlich war der Engel, über den muss ich noch etwas herausfinden.
Sun Yuan and Peng Yu are two of China’s most controversial artists, renown for working with extreme materials such as human fat tissue, live animals, and baby cadavers to deal with issues of perception, death, and the human condition. In Old Person’s Home Sun & Peng present a shocking scene of an even more grotesque kind. Hilariously wicked, their satirical models of decrepit OAPS look suspiciously familiar to world leaders, long crippled and impotent, left to battle it out in true geriatric style. Placed in electric wheelchairs, the withered, toothless, senile, and drooling, are set on a collision course for harmless ‘skirmish’ as they roll about the gallery at snail’s pace, crashing into each other at random in a grizzly parody of the U.N.dead.