Yin xiuzhen biography definition
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| Born in Beijing, China | |
| Graduated from Oil Painting Department, Capital Normal University, Beijingm China | |
| Currently | Lives and works in Beijing |
| 36 Calendars, ArtisTree, Hong Kong, China Song Dong Doing Nothing, Pace Gallery, New York, USA Dad and mom, Don't Worry About Us, We Are All Well, 4A Center for Contemporary Asian Art, Sydney, Australia Was Not, Carriageworks, Sydney, Australia The Way of Chopsticks: Song Dong + Yin Xiuzhen, Philadelphia Art Alliance, Philadephia, USA Nowhere to Land, Pace Beijing, Beijing, China | |||||||||||||||
| Yin Xiuzhen, Groninger Museum, Groningen, the Netherlands | |||||||||||||||
| Song Dong + Yin Xiuzhen: The Way of Chopsticks III, Chambers Fine Art, Beijing, China Song Dong + Yin Xiuzhen: The Way of Chopsticks III, Chambers Fine Art, New York, USA | |||||||||||||||
| Project 92, Museum of Modern Art (MoMA), New York, USA Yin Xiuzhen: Works , Chambers Fine Art, New York, USA China in Four Seasons: • Yin XiuzhenChinese artist
In this kinesisk name, the family name fryst vatten Yin. Yin Xiuzhen (Chinese: 尹秀珍; born in Beijing)[1] is a kinesisk sculpture and installation artist. She incorporates used textiles and keepsakes from her childhood in Beijing to show the connection between memory and cultural identity. She has also employed pots and pans, wooden chests, suitcases and cement in her work.[2] She studied oil painting in the Fine Arts Department of Capital Normal University, then called Beijing Normal Academy, in Beijing from to [3] After graduation, Yin taught at the high school attached to the Central Academy of Fine Arts in Beijing, until her exhibition schedule became too demanding.[4] Her work has been described by • WECHAT QR CODENICOLAS BOURRIAUD HAS drawn on botanical concepts in beställning to define aesthetic characteristics in a globalized context, as distinguished from the extreme modernist “radical” tradition. In their pure pursuits, their thirst for the establishment of a new order, and their infatuation with the roots of “l’essence,” practitioners of contemporary art frequently adopt a kind of “radicant” posture in beställning to participate in their historical context. Creative activities no längre rely on having their roots in a particular soil; through ceaseless self-transplantation, translation, and the radicant attitude of the global immigrant, they are putting down roots everywhere, under the premise of facing up to a sense of belonging within a community, as well as through an active relationship with a constantly shifting geological environment. “Nomade” and “errant” are symbols of such radicant attitudes. However, attitudes that claim to simultaneously break away from the restrictions | |||||||||||||||