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Kunst­hal­le Düs­sel­dorf opens YIN Xi­uzhen exhibition

Kunst­hal­le Düs­sel­dorf in col­la­bo­ra­ti­on wi­th the Gro­nin­ger Mu­se­um, is pre­sen­ting the first ma­jor so­lo ex­hi­bi­ti­on in Eu­ro­pe de­vo­ted to the work of one of Chi­na’s most im­portant ar­tists, YIN Xi­uzhen (born 1963 in Pe­king, li­ves and
works the­re). The show con­sists of a com­pre­hen­si­ve sur­vey of her ar­tis­tic oeu­vre. Exhibition on view 15 DE­CEM­BER 2012 – 10 MARCH 2013.

The ex­hi­bi­ti­on be­gins wi­th Yin’s ear­ly in­stal­la­ti­ons that are of­ten pre­sen­ted in un­in­ha­b­i­ted, un­tou­ched land­scapes and now exist so­le­ly in the shape of pho­to­gra­phic do­cu­men­ta­ti­ons. The show fo­cu­ses howe­ver on the ex­pan­si­ve in­stal­la­ti­ons as well as the re­cent mo­nu­men­tal ac­ces­si­ble tex­ti­le in­stal­la­ti­ons that re­pre­sent a wa­ter­s­hed in Yin’s oeu­vre.

Yin’s works from the 1990s, for ex­amp­le “Wa­shing Ri­ver” (1995), are stron­gly mo­ti­va­ted by po­li­tics when she broa­ches the the­me of the con­se­quen­ces of in­dus­try and tech­no­lo­gy on na­tu­re and the peop­le: a per­for­mance is do­cu­men­ted in pho­to­graphs in which Chi­ne­se ci­ti­zens “wa­sh” dir­ty wa­ter that has be­en fro­zen in­to a rectan­gu­lar block of ice wi­th spon­ges un­til the ice melts. Other pho­to­graphs, for in­stan­ce “The Tree of Par­ting” (1994), re­fe­rence a se­pa­ra­te re­du­ced aest­he­tic by me­ans of the mo­tif and its pic­to­ri­al com­po­si­ti­on that makes it ap­pe­ar li­ke an au­to­no­mous work, de­s­pi­te the fact that it was not con­cei­ved as such. – www.kunsthalle-dusseldorf.de