WU Yuren
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Curriculum Vitae
Works:
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Enter and Exit Series
Imperial Criminal Series
Meteorite
Trap
Monkey King II: Wreaks Havoc on the Crystal Palace
The Sparks Program
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No. 7 -é€ å‡é’¦çŠ¯ã€€Counterfeiting as an Imperial Crime , from the series Imperial Criminal Series (2001)
Photography
120 cm x 146 cm (Edition of 6), 64 cm x 75 cm (Edition of 12)
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| Wu Yuren’s conceptual photography, live art performances, installations and most recently oil on canvas works, illustrate his desire to “make art that both reflects and speaks to the peculiarities of the timesâ€. *
In the Imperial Criminal (2001) series Wu displays twelve passport-like blue tinted photographs of people with fluorescent brands stamped on their foreheads. Based on crimes from ancient times, his or her crime is exposed when the brand is placed under ultra-violet light. Wu attempts to ‘transform the new terms of legality and morality into a modern form’. ** In the Enter and Exit series (2001) the naked artist enters and exits a drain through a manhole. “By going ‘In’ and ‘Out’, I was able to learn through my naked bodily experience the act of considering artistic concepts.†** Journey to the West – Monkey King II Wreaks Havoc in the Crystal Palace, (Transparent Box Exhibition, 2005) was a major performance work by Wu. The artist hired a horse-cart to transport a fake missile to an exhibition at SOHO New Town to protest the commercialization of art. The artist was stopped by security guards at the entrance to the exhibition but eventually let in after the organizers realized it was a performance piece.* Wu relates his journey to the famous comic exploits of Monkey in the 16th Century novel The Journey to the West. The Sparks Program (10,000 Years Art Exhibition, Oct 2005) illustrates the artist’s ongoing interest in the situation of peasant construction workers. In a dark space seven labourers struck a pile of flint for three hours with metal batons, producing a heavy knocking sound with flying sparks. ** Wu Yuren’s recent paintings are full of visual contradictions. A cow salivates over a pizza, dumplings are devoured by snails and a panda prefers a kebab to a bamboo branch. The artist uses humor to comment on food, animals and commercial advertising in Chinese culture. *Luna Fenichel, Cultural Capital: Seminal Construction, Feb 2006, www. wuyuren.com **www. wuyuren.com | |||
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