520:, an expert on art history and curator,"Boundaries are everywhere, both visible and invisible, between here and there, now and then, reality and aspirations, safety and adventure." In Wang Huangsheng's art, lines have been gradually transformed from a primary language for the two-dimensional world into part of the methodology in installation with 'spatial intensity', redefined space, and extended to be a metaphor of the historical memory and reality in universal experience. The border between the visual world and the perceptual world is thus blurred to give new room to artistic expression.
505:. The images of the multiple videos appeared across the wall ceilings in the space filled with old furniture, just like the history shadows overlapped with virtual souls, telling the heroic, complex and forgotten story. The artist was doing his best to trace the shadow of history. The conflict of human nature, the contradictions between ideals and survival desires, and the transformation between history and present living conditions all have been concentrated in the maze. In 2016, the work was selected for
875:
research of the relationship between the history of art and reality, for example, a series of academic activities and research on collections of “National
Beiping Art School – CAFA”, the discovery, proof and research on Li Shutong's oil painting, research and exhibitions of the collections in the “young age of fine arts in new China”, etc., enriching and deepening the history and collections of CAFA, as well as research on the history of Chinese contemporary art.
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society and the time form the superficial sensory pains; on the other hand, he paid much more attention to the questions related with the pure expression of pains, what to do for preventing the pains and how to heal the pains from the perspective of complex humanity as well as the inter-promoting and inter-restricting conflicts between pains and protections.
230:) is a Chinese-born curator, educator and artist who is currently residing in Beijing. He used to serve as the director of China Central Academy of Fine Arts Museum for eight years. As an curator, he is most known for his curated events. He has been the curator of Guangdong Museum of Art and the Museum Art of Central Academy of Fine Arts for a long time.
242:, doctoral adviser, deputy director of the Committee of Art Museums in China, Expert Committee member of National Contemporary Art Research Centre, Ministry of Culture. Wang is an outstanding art expert who enjoys special allowance of the State Council in China, also a specially-appointed professor in Heidelberg University,
449:
builds an “overflowing” scene with glittering, transparent glass tube and shining barbed wires, as well as light and shadow. Sharp wires are pressed through the fragile glass tube, leaving shards scattered on the ground, shining in riotous profusion. Beautiful as these shards are, they seem dangerous
874:
CAFAM Biennale, etc. Wang
Huangsheng made great effort in aspects of art curatorial methodology, for example, the fieldwork-nominated curatorial method is applied in two future exhibitions of CAFAM, the innovative model used by the third & second CAFAM Biennial, etc. The museum also focus on the
420:
Wang experiments with gauze, bandage and rubbing. The traces gauze residues leave and the ink as well as the reality and cultural information between the newspaper and the rice paper become a metaphor for harm and protection, restoration and sublimation. The fine, delicate, sensitive imprints form a
384:
series stresses the concept of “cultivation” in traditional
Chinese culture and aims to build a passage that connects contemporary culture with human being's ultimate goal. “cultivation” involves culture, moral character, artistic conception and skills, not excluding control and self-control; while
345:
series of works has not only the elegant style and the stretch of spirits, but also portraying the classical tradition and fantasy lyrical modern expression temperament; the series of works express the magnificent
Chinese culture. You can feel the universe in the cup and how broad-minded the artist
528:
Victoria and Albert Museum (U.K.), British Museum (U.K.), Ashmolean Museum (U.K.), Uffizi
Gallery (Italy), Mantova Museum (Italy), Hoffmann Collection (Germany), National Art Museum of China (China), Art Museum of China Central Academy of Fine Arts (China), Art Museum of Nanjing University of the
472:
in Suzhou Museum. The artists chose the extremely harmful barbed wire and the soft gauze with represented healing of the wound, with the gauze twining around the wire. On one hand, the new language is full of aggression, making him reflect on various pains brought by the rapid development of the
427:
features a visible or invisible wall of gauze imprints of isolation and self-protection to imply injury, pain, separation, blood, care, and cure. The texture of gauze rubbing and the shades and humidity of ink echo the delicate and fine rubbing traces on a large-size tableau, also including the
458:
builds an enclosed space with curtains in which the barbed wires, glinting in the light, create a poetic atmosphere of ink painting, both imaginary and real. Seeing the moving and poetic light and shadow replaced by barbed wires, viewers may experience an inspiring visual and perceptual shock.
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series that is born of his pursuit of “freedom”. The “flowers” are given expression in different forms, like colors, details-adding techniques, water streaks, ink flavor, lines, taste, etc. In this sense, the form, tangible or concrete, becomes less important, and the artist's feeling and
385:“freedom” refers to non-interference, being unrestrained and uninhibited, and more importantly, accomplishment of spiritual freedom from any restraint. Between the two seemingly contradictory extremes there is probably the tension and significance of life, work and art.
442:
Wang's installations are derivative of his paintings. These installations often use barbed wires to imitate the movement of ink lines. Barbed wires, as ready-made material for art, are sharp, pliable and tough, so they are metaphoric of ink as well as social violence.
285:
In 2004 he obtained the "Knight Medal of Art and
Literature" awarded by the French government. In 2006 he obtained the "Knight Medal" awarded by the President of Italy. In 2013 he obtained the "Beijing best educator" awarded by the Beijing government.
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Arts (China), Guangdong Museum of Art (China), Zhejiang Art Museum (China), Hubei Museum of Art (China), Guangdong
Provincial Museum (China), Anhui Provincial Museum (China), Suzhou Museum (China), Lingnan Museum of Fine Art (China).
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was completed in Palace of Prince Zhong in the museum of Suzhou in 2015. The work was created for the specified historical space of the Palace of Prince Zhong. The artist did not make a direct comment on the history of
479:
continues to make use of barbed wires wrapped in gauze for a sense of trauma. The artists aims to lend more extensive social significance to the interaction between the property of material and human beings.
846:
A Dialogue with Henry Moore
Exhibition of Contemporary Chinese Sculpture; 1997 Concern To Reality and Transformation of Art Language ---The Specialized Collection of The China Fine Arts of the Early 20s’
513:. In the space, the artist applied tons of glass and mirror fragments to create an expression about the unique features of the history, such as blurred, broken, positive and negative, fiction and fact.
400:
to reflect on the current social situation. By applying ink lines on the newspaper, Wang
Huangsheng redefined how we read and also integrated his artist practice with social reality.
434:, a new series in 2017, is a rubbing on gauze painted red. There are also biblical quotes about human self-reflection to express a complex feeling of harm and atonement.
254:. Wang Huangsheng obtained his master from the Nanjing University of the Arts in 1990 and his doctorate in 2006 respectively. He was the director of
380:
series reabstract the already abstract “line” and “stroke” and bring them into interaction with contemporary visual cognition in similar conditions.
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series is a brave attempt for Wang
Huangsheng to think about the ink creation and social intervention. The series were drawn on newspaper media of
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33:
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Lang Shaojun, “Looing at Wanghuangsheng at a distance”. Wang Huangsheng Flower series :Daily Mood. Lingnan Art Publishing House, 2005.
239:
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Wang Huangsheng. “Universe series”, Wang Huangsheng: The Garden of Mystery. Central Compilation & Translation Press, 2017.
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793:(Taichung Cultural & Creative Industries Park International Exhibition Hall, CKS Memorial Hall Taipei, Taiwan, China);
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From 1994 to 2009, Wang Huangsheng's paintings were selected for The 8th, 9th and 11th National Art Exhibition in China
86:
1078:[Interview with Wang Huangsheng, Wang huangsheng recalled eight years as director of the Central American art museum
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imprints of randomly scattered gauze bits, so as to give embodied expression on the visual and psychological levels.
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In the eight years of working as a museum director, Wang Huangsheng planned many important exhibition, include:
1037:
862:
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916:, No.1 of the Art Museum as Knowledge Production series (Central Compilation & Translation Press, 2012)；
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Wang Huangsheng：Tracing back to the Source of Zhujiang touring exhibition 1984/2020 Guangzhou Station
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Wang Huangsheng was born in Shantou, Guangdong province, in 1956. Ph.D of art history, professor of
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Wang Huangsheng：Tracing back to the Source of Zhujiang touring exhibition 1984/2020 Guizhou Station
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789:(Wimbledon College of Art, Art@GoldenSquare, London, England / CAFA Art Museum, Beijing, China);
579:
Wang Huangsheng：Tracing back to the Source of Zhujiang touring exhibition 1984/2020 Guilin Station
271:
926:
Series of Research regarding Chinese Master painters in Ming and Qing Dynasties: Chen Hongshuo
334:
100:
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1998 Southern context -The first invitational exhibition of the contemporary Chinese Artists
223:
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824:(Guangzhou, China); The first International Art Biennale(Beijing, China, 2003–2004),
298:
1088:
1048:
Former Director Wang Huangsheng Reviewed the Road of CAFAM”, (2017-05-31). sohu.com.
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1079:
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Round&Develop: Academic Invitation Exhibition of Comprehensive Material Painting
267:
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as Prince Zhong but turned the pages of fictitious text of the self-description of
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The Logic of Painting: China Central Academy of Fine Arts Faculty Works Exhibition
543:
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rich and subtle contrast with the rich and wild lines and shapes and ink stains.
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1009:“Wang Huangsheng unveils first UK solo exhibition”, (2015-05-27), China Daily,
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150:
1038:
http://museum.cafa.com.cn/cn/exhibitions/the%20third%20cafam%20biennial/text
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The 3rd CAFAM Biennial Negotiating Space: I Never Thought You Were Like That
842:
Urban Impression A Collection of Contemporary Experimental Ink wash Drawings
679:
Growth in Spring/Stillness in Autumn -- Wang Huangsheng Art Works Exhibition
450:
when you come closer. Here is the metaphor and tension of life and reality.
767:(Fred Villa Art Center, Bonn, Germany / Yuan art museum, Beijing, China)；
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1023:
820:
Organized and Curated 2005 Guang Zhou Photo Biennial (Guangzhou, China),
1011:
http://www.chinadaily.com.cn/culture/art/2015-05/27/content_20835978.htm
920:
A History of Traditional Chinese Painting: Section of Landscape Painting
787:
Visionary: Contemporary Fine Art from China Central Academy of Fine Arts
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Heaven and Earth · Carefree -- Wang Huangsheng Ink Painting Exhibition
668:
Heaven and Earth · Carefree -- Wang Huangsheng Ink Painting Exhibition
454:
274:" exhibition and Beijing Photo Biennale. Exhibitions curated include
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Rendering the Future -- Chinese Contemporary Ink Painting Exhibition
640:(The Art Museum of Nanjing University of the Arts, Nanjing, China);
774:(Palazzo Michiel Palace, Venice/ MAGI’900 Museum, Bologna, Italy);
651:(Zhejiang Art Museum, Hangzhou/Hubei Museum of Art, Wuhan, China);
785:(Sanchuan Modern Art Museum, Nanjing/Tianjin Art Museum, China);
852:
Director of China Central Academy of Fine Arts from 2009 to 2017
804:(Montclair State University Gallery, Montclair, United States)；
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DAJIA · Chinese Painting Biennial of Contemporary Lingnan · 2014
795:
Not Only Paper· China -- Japan Paper Art Exhibition First Round
259:
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63:
from the article and its talk page, especially if potentially
18:
772:
Confronting Anitya -- Oriental Experience in Contemporary Art
765:
Confronting Anitya -- Oriental Experience in Contemporary Art
276:
Documentary Exhibition of Art in Mao Zedong’s Era (1942–1976)
713:
2018 Invitational Exhibition of Chinese Contemporary Artists
890:
Wang Huangsheng:Tracing back to the Source of Zhujiang 1984
731:
The Exhibition of Annual of Contemporary Art of China, 2015
581:(Guangxi Normal University Press Art Museum, Guilin, China)
280:
The Humanism in China: A Contemporary Record of Photography
243:
922:(One of the Authors; Jiangxi Art Publishing House, 2008)；
822:
Humanism in China ----A Contemporary Record of Photography
724:
Annual Review of China Contemporary Ink Painting 2016–2017
944:
Heaven and Earth · Carefree: Paintings by Wang Huangsheng
664:
Post · Refined · Joy -- Art Exhibition of Wang Huangsheng
251:
636:(Redtory Museum of Contemporary Art, Guangzhou, China);
369:
After 2010, Wang shifted to more abstract practice. His
247:
309:
255:
904:(Central Compilation & Translation Press, 2017)；
791:
4th Taipei International Modern Ink Painting Biennial
681:(The University of New South Wales, Australia), etc.
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The Garden of Mystery: Wang Huangsheng Art Exhibition
510:
507:
The Exhibition of Annual of Contemporary Art of China
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Post · Refined · Joy: Wang Huangsheng’s World of Art
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understanding about life and glory get highlighted.
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746:Calligraphic time and space: Abstract Art in China
706:Harmo-Power the First Jinan International Biennale
666:(Baiyaxuan 798 Art Center, Beijing, China); 2007:
627:Blade & Line: Wang Huangsheng New Ink Artworks
509:(2015). The work was then remade and displayed in
1080:http://mp.weixin.qq.com/s/SZ-zjgK-Gll4RWqtPGjqIw］
404:Trace Vision, The Wall and Metaphor Vision series
677:(National Art Museum of China, Beijing, China);
469:The Garden of Mystery: Wang Huangsheng Art Works
262:from 2009 to 2017. He founded and organized the
742:CHINA 8: Chinese contemporary art in Rhine ruhr
740:(Beijing Minsheng Art Museum, Beijing, China);
733:(Beijing Minsheng Art Museum, Beijing, China)；
16:Professor at China Central Academy of Fine Arts
884:New Art Museum:Concept,Strategy & Practice
726:(Ucity Art Museum of GAFA, Guangzhou, China)；
649:Boundless: Wang Huangsheng’s Works (2009–2013)
629:(CAFA International Gallery, Beijing, China);
466:was made site specifically for the exhibition
914:Wang Huangsheng: New Experience on Art Museum
670:(Guangdong Museum of Art, Guangzhou, China);
8:
950:Wang Huangsheng: Heaven and Earth · Carefree
908:Boundless: Wang Huangsheng’s Works 2009–2013
783:Original Forms of Chinese Water Ink Painting
634:On the Run: Wang Huangsheng Solo Exhibition
591:(Guangdong Museum of Art, Guangzhou, China)
638:Roming on the Edges: Wang Huangsheng Works
149:
138:
56:about living persons that is unsourced or
892:（Guangxi Normal University Press, 2020）；
763:(Pearl Lam Galleries, Hong Kong, China);
748:(Power Station of Art, Shanghai, China)；
647:(Schiller Gallery, Heidelberg, Germany);
127:Learn how and when to remove this message
886:(Guangxi Normal University Press,2023）；
621:(Pearl Lam Galleries, Shanghai, China);
617:(Lin & Lin Gallery, Taipei, China);
547:(He Xiangning Art Museum,Shenzhen,China)
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701:(Block14 Level1 CAFA ,Beijing, China)；
657:Wang Huangsheng: Look into the Distance
1050:http://www.sohu.com/a/144925206_283183
952:(Liaoning Art Publishing House, 1996)
946:(Lingnan Art Publishing House, 2006)；
910:(China Youth Publishing Group, 2013)；
902:Wang Huangsheng: The Garden of Mystery
830:2008 China: 20 Years of Ink Experiment
693:(Xinjiang Art Museum,Wulumuqi,China);
574:(Long Museum West Bund,Shanghai,China)
615:Wang Huangsheng: Roaming | Apparition
601:(Minsheng Art Museum, Beijing, China)
488:is a multi-screen video installation
7:
928:(Jilin Art Publishing House, 1995)；
708:(Shandong Art Museum,Jinan, China)；
545:Wang Huangsheng：Remoteness and River
1036:China Central Academy of Fine Arts
826:Fu Luofei Sketches about the People
797:(CAFA Art Museum, Beijing, China)；
759:(Poly Art Museum, Beijing, China);
755:(Asia Art Center, Beijing, China);
722:(ART100 New York, New York, U.S.);
564:(Guizhou Art Museum, Guiyang,China)
554:(Guangzhou Library,Guangzhou,China)
258:from 2000 to 2009, the director of
975:(Guangxi Normal University Press）
778:(Amy Li Gallery, Beijing, China)；
659:(Sunshine Space, Shantou, China);
240:China Central Academy of Fine Arts
213:Guangzhou Triennial Art Exhibition
14:
973:New Art Museum Studies Issue No.1
697:(CAFA Art Museum,Beijing,China);
858:Social Sculpture: Beuys in China
297:
23:
940:(Hebei Education Press, 2012)；
898:(Hebei Education Press, 2018)；
896:Wang Huangsheng: Boungary/Space
655:(WiE KULTUR, Berlin, Germany);
625:(October Gallery, London, Uk);
599:Wang Huangsheng: Boungary/Space
589:Wang Huangsheng: Boungary/Space
572:Wang Huangsheng: Breathe In/Out
365:series and Lines Visions series
715:(Aimer Museum,Beijing,China)；
623:Wang Huangsheng: Unbroken Line
611:(Suzhou Museum, Suzhou, China)
248:Nanjing University of the Arts
244:Guangzhou Academy of Fine Arts
1:
866:, The Second CAFAM Biennale:
834:Individual and Society in Art
266:, Guangzhou Photo Biennale, "
252:South China Normal University
1120:21st-century Chinese writers
34:biography of a living person
1115:Chinese non-fiction writers
969:(Tongji University Press)；
963:(Tongji University Press)；
816:Museum director and curator
511:Beijing Minsheng Art Museum
161:1956 (age 67–68)
61:must be removed immediately
1146:
685:Selected group exhibitions
967:University and Art Museum
848:( Guangzhou, China) etc.
802:The Enduring Art of China
538:Selected solo exhibitions
227:
148:
1130:Educators from Guangdong
744:(Rhine ruhr, Germany);
256:Guangdong Museum of Art
1105:Artists from Guangdong
761:Spiritual as Mountains
306:This section is empty.
48:Please help by adding
1024:"Wang Huangsheng.org"
844:(Guangzhou, China),
832:(Guangzhou, China);
619:Flux: Wang Huangsheng
1110:Writers from Shantou
934:(WiE KULTUR, 2013)；
836:(Guangzhou, China);
653:Roaming | Apparition
645:The Lines to Freedom
54:Contentious material
868:Curating as Gesture
811:Curated exhibitions
408:In painting series
335:Universe and Serene
290:Selected art series
264:Guangzhou Triennial
840:(Mantua, Italy),
828:(Beijing, China);
503:Talk About Shadows
490:Talk About Shadows
485:Talk About Shadows
349:Wang Huangsheng's
516:As is pointed by
462:The installation
455:Division of Space
447:Overflowing Light
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720:A Fine Line
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495:Li Xiucheng
188:Art History
176:Nationality
1089:Categories
979:References
699:Interspace
524:Collection
87:newspapers
329:Paintings
234:Biography
184:Education
39:citations
477:Haunts 2
425:The Wall
418:The Wall
343:Universe
65:libelous
518:Wu Hong
464:Haunts1
282:, etc.
224:Chinese
198:Curator
179:Chinese
165:Shantou
101:scholar
961:Museum
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169:China
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32:This
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