Nowhere to Land – Yin Xiuzhen at Pace Beijing

无处着陆:尹秀珍个展 Nowhere to Land – Yin Xiuzhen

2013.07.20–2013.09.28 佩斯北京| Pace Beijing

Pace Beijing, 798 Art District, Beijing

20 July – 28 September, 2013




— 文/ 李蔼德 (Edward Sanderson), 译/ 吴玉笛

The first works encountered upon entering Yin Xiuzhen’s current solo show at Pace Beijing are a series of paintings representing bursts of fireworks against a dark sky (Fireworks Series, 2012–2013). Each canvas is shaped as a geometric form, a hexagon, dodecahedron, etc. the deep edges of which are each coated in thick grey paint, building up in a ridge along the front surface of each piece.

It is perhaps significant that paintings serve as the introduction to this show, as Yin is better known for her installations incorporating elements made from stitched-together clothing. Turning the corner into a darkened room, a large structure shaped like a cut diamond sits on the floor (Black Hole 2010). The facets of the diamond are made from panels of black t-shirts, with the logos and symbols applied to the original items positioned centrally on each facet. These also have small gaps between them, through which light from an LED array inside the structure glows in ever-changing colours.

Continue reading

Chinese art market confidence

ArtTactic, Chinese Art Market Confidence Survey, Dec 2009

If anyone has a copy of this report, I would be very interested in taking a look (I might even cook you dinner). It would be fascinating to know what their criteria are for measuring “sentiment.” The report appears to look at a good range of artists1, so each one’s comparative results would be interesting to see. I’ve been hearing (mainly from auction results, so that’s pretty selective) that established names are recovering quickly, but the market for younger, less established artists is struggling (as one would expect). Most people I’ve talked to about this subject see these periodic downturns as, by and large, a “good” thing. I’m not denying the pain involved, but it’s a time in which everyone is forced to re-focus on their core strengths and if these aren’t sustainable then, perhaps, it’s time to move on.

The confidence in the Chinese Contemporary art market has strengthened significantly since February 2009, and is now back above the 50 level. The ArtTactic Confidence Indicator has increased from 16 in February 2009, to 57 in November 2009. The current level signals that there is more positive than negative sentiment in the art market. This is the first contemporary art market that ArtTactic has surveyed since the downturn, in which the Confidence Indicator has come in above the 50 level, which implies that the Chinese art market could be one of the quickest to recover.2

  1. Ai Weiwei, Cai Guoqiang, Cao Fei, Chen Wenbo, Fang Lijun, Feng Mengbo, Feng Zhengjie, Gu Dexin, Gu Wenda, He Duoling, He Yunchang, Hong Hao, Li Shan, Li Songsong, Liang Shaoji, Lin Tianmiao, Ling Jian, Liu Wei (B. 1972), Liu Xiaodong, Liu Ye, Lv Shenzhong, Mao Yan, Nie Mu, Qiu Zhijie, Shi Jinsong, Song Dong, Sui Jianguo, Tan Ping, Wang Gongxin, Wang Guangyi, Wang Jianwei, Wang Qingsong, Wang Wei, Wang Xingwei, Wu Shanzhuan, Xu Bing, Xu Zhen, Yang Fudong, Yang Shaobin, Yin Xiuzhen, Yu Hong, Yue Minjun, Zeng Fanzhi, Zhan Wang, Zhang Dali, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhong Biao, Zhou Tiehai, Zhou Xiaohu.
  2. ArtTactic (2009), Chinese Art Market Confidence Survey, Dec 2009. Retrieved from on 12 January 2010.