UCCA Center for Contemporary Art opens Huang Rui's largest solo exhibition in recent years
The First Art Newspaper on the Net    Established in 1996 Saturday, July 13, 2024

UCCA Center for Contemporary Art opens Huang Rui's largest solo exhibition in recent years
Huang Rui, Space (Recovery), 1985-2015. Oil on canvas, 150 x 150 cm.

BEIJING.- From September 25 to December 19, 2021, UCCA Center for Contemporary Art presents “Huang Rui: Ways of Abstraction.” Since the late 1970s, Huang Rui (b. 1952, Beijing, lives and works in Beijing) has been active at the forefront of Chinese contemporary art as an artist and instigator, who notably co-organized the “Stars Art Exhibition” in 1979 and pioneered contemporary art practice in China. “Huang Rui: Ways of Abstraction” is the largest solo exhibition by the artist in recent years. Featuring more than 40 paintings and sculpture installations from the beginning of the artist’s career to the present day, this exhibition explores the language of abstraction and East Asian thoughts that have informed the artist’s practice for decades. Structured by five series—“Early Abstraction,” “Space,” “Space Structure,” “Experiments with Ink,” and “Installation Works”—works on view include the latest paintings created in 2021 in the “Heaven, Earth, Man” series, and exhibited for the first time, the oil paintings in the 2020 “Inside-out Dao” series. “Huang Rui: Ways of Abstraction” is curated by UCCA Director Philip Tinari with UCCA Assistant Curator Neil Zhang.

Huang Rui’s foray into abstract painting can be traced back to 1978 and the “Stars Art Exhibition” late the following year, where abstract art, including several paintings of his own, was openly exhibited for the first time in post-Revolution China. First shown during this period, Infinite Space (1979), included here again in the “Early Abstraction” section, is the first significant abstract painting by the artist. Throughout the late 1970s and early 80s, Huang Rui’s exploration of abstraction in the works in this section not only foreshadow the artist’s later shift towards a focus on the abstract, they also offer vivid testimony of the era’s artistic movements and social transformations.

At the beginning of the 1980s, Huang Rui started searching for an approach towards abstraction that was grounded in his personal experience, one that would be more deeply abstract and rooted in the local context. His examination of theinteraction between architectural form and spiritual space in the courtyard house of Beijing led to works in the “Space Structure” series. Following his relocation to Japan in 1984, where he would live for the next fifteen years, Huang Rui began to explore the connections between materials, content, and brush work in painting. Inspired by the design philosophy of Japanese houses, such as an old rice warehouse that he used as his studio, that integrate space, form, and use, the “Space” series sees Huang Rui using black paint to create a kind of frame within his images that opens up a freer spiritual space within the picture plane. This series is echoed in the Space (Recovery) paintings made in 2015, in which the artist recreated according to photographs and sketches some of the “Space” paintings destroyed in his move back to China.

During his time in Japan, Huang Rui also made a series of experiments with ink under the influence of the Gutai group and avant-garde calligraphy. He was particularly inspired by how the splashes, brushstrokes, and other techniques of avant-garde calligraphy could be harnessed to create visual abstraction. In his ink wash paintings, Huang Rui utilizes a pure form of the abstract to produce an intense visual impact. The left and right sides of each piece often function as separate compositions, opposed to each other yet seeking a kind of reconciliation and unity. In these large-scale paintings, ink soaks through the interior of rice paper, connecting between the space on the front and back sides of the paper. Huang Rui took advantage of this unique feature of the materials in his exhibitions in Japan in the mid-1980s, adopting ink wash pieces as spatial dividers hung within the exhibition halls, using physical attributes of the ink and paper to add depth to the picture plane.

Contemplation on East Asian aesthetics and East Asian philosophy have been formative to Huang Rui’s abstract painting practice, especially since 1933 when he began to study the Tao Te Ching and the Book of Changes. The turns and changes embedded within the names of each hexagram in the Book of Changes informs the core idea of constant change in his practice. The “Inside-out Dao” series (2020) is a result of Huang Rui’s more fluid and breezy ways of abstraction in connection to the idea of dao in Taoism. In these large-scale paintings with a minimalistic palette, the viscous texture of oil forms in contrast with a flowing, ink wash effect created with diluting oil paint. The language of abstraction in the “Inside-out Dao” series eludes the traditional geometric order of the universe; through the juxtaposition between the different kinetics of the brushwork on the canvas, Huang contracts a freer, new, three-dimensional space on the canvases.

Beyond the canvas, Huang Rui’s in-depth study of East Asian philosophy and bold, experimental approach to the language of abstraction are materialized in the installation works at this exhibition. The three sculpture installations expand upon his use of the materiality of ink as a direct medium of expression, his cosmic view of the relationship between Taoist cosmology and urban ecology in the context of a global pandemic, and an alternative thread in his study of space and objects in sculpture form.

Huang Rui (b. 1952, Beijing, lives and works in Beijing) was a founding member of the groundbreaking Chinese avant-garde art group The Stars. In the 1980s, his practice centered on painting, and in the 1990s he began to explore more diverse and experimental art-making techniques, including installation, performance art, photography, and prints. His major solo exhibitions include “Animal Time: 1204-2009” (Coudenberg Museum, Brussels, 2009); “Chinese History in Animal Time” (Museo delle Mura, Rome 2009); “Huang Rui: The Stars’ Times 1977-1984” (He Xiangning Art Museum, Shenzhen, 2007); “Chai-Na/China” (Les Rencontres d’Arles Photography Festival, 2007); and “Huang Rui Exhibition” (Osaka Contemporary Art Center, 1990). Select group exhibitions include “Art and China after 1989: Theater of the World” (Solomon R. Guggenheim Museum, New York, 2017); “CHINA 8” (various venues, Germany, 2015); the Venice Biennale (2013); and the “Stars Art Exhibition” (east garden of the National Art Gallery, Beijing, 1979).

Today's News

September 27, 2021

'Ancestor' of Mediterranean mosaics discovered in Turkey

Exhibition brings together over a dozen of Frans Hals's best male portraits

Exhibition conveys approaches to art from the 1930s to the present day

Joe Minter hears the bulldozer coming. Will his artwork be saved?

Hindman Auctions to present timepieces by top designers in October sale

Missing gold Fabergé egg found by scrap-metal dealer and pair of royal sculptures reunited to feature in exhibition

Exhibition brings together paintings from the last five years of Jesse Murry's life

'Ghost Calls and Meditations': Kunsthaus Pasquart opens an exhibition of works by Emma Talbot

Galerie Guido W. Baudach displays two brand-new series of assemblage-like sculptures by Jasmin Werner

UCCA Center for Contemporary Art opens Huang Rui's largest solo exhibition in recent years

Exhibition at Lunds Konsthall reflects on the relationship between humans and animals

Jewel of Roman Empire lies neglected in Libya chaos

Exhibition featuring Indigenous artists Marie Watt and Cannupa Hanska Luger opens at the Carlos Museum

George Mraz, consummate jazz bassist, dies at 77

The score of Final Fantasy gets its due at the concert hall

Colby College officially breaks ground on the Gordon Center for Creative and Performing Arts

Artist group IC-98's Lands of Treasure opens at Serlachius Museums in Finland

María Mendiola, half of a chart-topping disco duo, dies at 69

Argentinian couples win top tango competition after Maradona tributes

Joel Coen's Macbeth: pure and somber

DMW Gallery in Antwerp presents a solo show by Marius Ritiu

Emmanuel Louisnord Desir's first exhibition with François Ghebaly opens in Los Angeles

Stars lend voices to world-spanning concert for climate, vaccines

Guido Spars appointed Founding Director of the Federal Bauakademie Foundation

Reasons To Begin Practicing An Art

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful