艺术家数字资产管理

王广义

WANG GUANGYI
王广义

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1957年生于中国黑龙江省。1984年毕业于中国美术学院。现居北京。

曾参加中国现代艺术大展(1989)、第45届威尼斯双年展(1993)、第22届圣-保罗双年展(1994)、西班牙圣莫妮卡美术馆《中国前卫艺术》(1995)、德国路德维西美术馆《回望》(1996)、德国斯图加特美术馆《数字与神话:20世纪艺术回顾展》(1996)、法国蓬皮杜艺术中心《中国,你好?》(2003)、法国马塞现代艺术博物馆《身体-中国》(2004)等群展;

曾在路易斯-布莱恩基金会美术馆(英国)、今日美术馆、OCAT当代艺术中心、拉维罗美术馆(意大利)、西班牙MAC当代美术馆、谭国斌当代美术馆、新加坡当代美术馆等地举办个展。

2017年
“金蝉脱壳——纪念黄专逝世周年邀请展”,OCAT深圳,中国深圳;
2017年
METAMORPHOSIS: Huang Zhuan Memorial Invitational Exhibition , OCAT Shenzhen, Shenzhen, China;
2016年
“图像修正——王广义”,新加坡当代美术馆,新加坡;
“北方的温度——王广义”,鲁迅美术学院美术馆,中国沈阳;
“王广义——存在与超验”,武汉合美术馆,中国武汉;
“里应外合——首届峨眉当代艺术国际邀请展”,峨眉当代艺术馆,中国峨眉;
“倒叙的美术史:中国当代艺术的另一种线索”,亿利艺术馆,中国北京;
“石膏像——视觉经验与文化身份背景下的中国现代性”,亿利艺术馆,中国北京;
“关于展览的展览:90年代的当代艺术展示”,OCAT,中国北京;
“釜山双年展”,韩国釜山;
“第三届南京国际美术展‘Hitoricode:萧条与供给’主题展”,百家湖美术馆,中国南京;
2016年
Image Correction - Wang Guangyi, Museum of Contemporary Art, Singapore;
Northern Temperature - Wang Guangyi, Museum of Luxun Academic of Fine Arts, Shenyang, China;
Wang Guangyi Existence And Transcendence,United ArtMuseum, Wuhan, China;
Working in collusion- First E’mei Ivitation Exhibiton of International Contemporary Art, E’mei, China;
An Exhibition about Exhibitions: Displaying Contemporary Art in 1990s, OCAT, Beijing, China;
Working in collusion- First E’mei Ivitation Exhibiton of International Contemporary Art, E’mei, China;
Art Historical Flashbacks: Another Path in Chinese Contemporary Art, Elion Art Gallery, Beijing, China;
Models – The Visual Experience and Cultural Identity of Chinese Mordenity, Elion Art Gallery, Beijing, China;
Busan Biennale, Busan, Korea;
3rd Nanjing International Arts Festival ‘Historicode: Scarcity and Supply’, Baijia Lake Art Museum, Nanjing, China;
2015年
《仪式》系列;
《信仰者的遗物》;
《众神的起源》;
“王广义:信仰者的遗产”,MAC当代美术馆,西班牙拉科鲁尼亚;
“第五届艺术长沙——连接中国的桥:历史,科技,诗与雅”,谭国斌当代艺术博物馆,中国长沙;
“王广义”,歌剧院画廊,迪拜;
“游魂:向高更致敬—中国当代艺术展”,塔希堤;
“破图集:中国当代艺术家处理图像的方法”,寺上美术馆,中国北京;
“La Sindone e l’impronta dell’arte”,桑塞波尔克罗美术馆,意大利阿雷佐;
“民间的力量:北京民生现代美术馆开馆展”,北京民生现代美术馆,中国北京;
“星艺术机构文献展——北方艺术群体”,星艺术机构,中国香港;
“展示片段:OCAT十年(2005-2015)文献研究展”,OCAT,中国北京;
2015年
Ritual series;
Relics of Believers;
The Origin of the Gods;
Wang Guangyi - Relics of Believers, MAC contemporary Art Museum, A Coruna, Spain;
The 5th Art Changsha - China: Bridges To/ Bridges From History, Technology, Poetry, And Grace, Tan Guobin Contemporary Art Museum, Changsha, China;
Wang Guangyi, Opera Gallery, Dubai;
Loitering Spirit:A Tribute to Paul Gauguin-Chinese Contemporary Art Exhibition, Tahiti;
Breaking the Image: Methods in the Treatment of Imagery by Contemporary Artists From China, Si Shang Art Museum, Beijing, China;
La Sindone e l’impronta dell’arte, Museo Civico di Sansepolcro, Arezzo, Italy;
The Civil Power: Beijing Minsheng Art Museum OpeningExhibition, Beijing Minsheng Art Museum, Beijing, China;
Northern Artist Group Archival Exhibition, North Art Group, Kong Kong, China;
Displaying Fragments: Ten Years of OCAT (2005 - 2015), OCAT, Beijing, China;
2014年
《新宗教——冥想者》系列(2013-2014);
“内爆与危情:王广义实验艺术国际论坛”,西南交通大学美术馆,中国成都;
“王广义:意大利之旅”,拉维罗美术馆,意大利莎雷诺;
“偶像的底片:王广义”,泉空间,中国北京;
“汉雅一百:偏好”,香港艺术中心,中国香港;
“8+1:实验艺术的方案”,广东当代艺术中心,中国广州;
“后波普:东方遇见西方”,萨奇画廊,英国伦敦;
2014年
Men in Meditating series(2013-2014);
Implosion and Crises: International Forum on experimental art of Wang Guangyi, Museum of Xinan Jiaotong University, Chengdu, Sichuan Province, China;
Wang Guangyi, Viaggio in Italia, Museo di Villa Rufolo, Salerno, Italy;
Negatives of Idols - Wang Guangyi, Spring Art Center, Beijing, China;
Hanart 100: Idiosyncrasies, Hong Kong Arts Centre, Hong Kong;
8+1-A Project of Experimental Art, Guangdong Contemporary Art Center, Guangzhou, China;
Post Pop: East Meets West, 2014, Saatchi Gallery, London;
2013年
《Sindone》系列;
“第55届威尼斯双年展特别邀请展‘历史之路:威尼斯双年展与中国当代艺术20年’”,意大利威尼斯;
2013年
Sindone series;
Passage to History: 20 Years of La Biennale di Venezia and Chinese Contemporary Art, Venice, Italy;
2012年
《自在之物》;
《圣物》;
“自在之物:乌托邦、波普与个人神学”,今日美术馆,中国北京;
“王广义:冷战美学(上海浦江华侨城公共艺术计划)”,浦江华侨城,中国上海;
“第七届深圳雕塑双年展:偶然的信息——艺术不是一个体系,也不是一个世界”,OCT当代艺术中心,中国深圳;
2012年
Things-in-themselves;
Sacred Object;
Things-In-Itself: Utopia, Pop and Personal Theology, Today Art Museum, Beijing, China;
Wang Guangyi: Cold War Aesthetic(Shanghai Pujiang Oversea Chinese Town Public Art Project), Pujiang Oversea Chinese Town, Shanghai, China;
The 7th Shenzhen Sculpture Biennial: Serendipitous Information-Art is Not a System-Nor is it World, OCT Contemporary Art Terminal, Shenzhen, China;
2011年
“实验报告:关于中国当代艺术的视觉档案:王广义·交互的镜像”,坦克库—重庆当代艺术中心,中国重庆;
“纸上美术馆:12位华人艺术家”,伊比利亚当代艺术中心,中国北京;
“溪山清远:中国新绘画”,亚洲艺术博物馆,美国旧金山;
“2011成都双年展之‘溪山清远:当代艺术展’”,中国成都;
“典藏历史:中国新艺术”,成都当代美术馆,中国成都;
“小运动:当代艺术中的自我实践”,OCT当代艺术中心,中国深圳;
2011年
Visual Archives of Chinese Contemporary - Wang Guangyi . The Interactive Mirror Image, Tank Loft-Chongqing Contemporary Art center, Chongqing, China;
Museum on Paper: 12 Chinese Artists, Iberia Center for Contemporary Art (ICCA), Beijing, China;
Pure Views: New Painting from China, Asian Art Museum, San Francisco, USA;
Chengdu Biennale - Pure Views: Contemporary Art Exhibition, Chengdu, China;
Collecting History: China New Art, Chengdu Contemporary Art Museum, China;
Little Movements: Self Practice in Contemporary Art, OCT Contemporary Art Terminal, Shenzhen, China;
2010年
《导师》系列;
《新宗教——最后的晚餐》;
《新宗教——预言》;
《多利的时代》;
《温度》;
“改造历史:2000-2009年的中国新艺术”国家会议中心,中国北京;
“溪山清远”,路易斯·布罗恩基金会美术馆,英国伦敦;
“世界的艺术:2010上海世博会世博轴雕塑长廊国际雕塑展”,中国上海;
“中国当代艺术三十年历程·绘画篇(1979-2009)”,民生现代美术馆,中国上海;
“建构之维:2010中国当代艺术邀请展”,中国美术馆,中国北京;
“最低限度”,桥梓艺术公社,中国北京;
“Made in Pop Land”,韩国国立现代美术馆,韩国首尔;
2010年
Gurus series;
New Religion - The Last Supper;
New Religion – Prophecy;
The Age of Dolly;
Temperature;
Reshaping History: Chinart from 2000 to 2009, China International Exhibition Center, Beijing, China;
Pure Views, Louise Blouin Institute of Louise Blouin Foundation, London, The U.K.;
Art for the World: The Sculpture Project of the EXPO Boulevard in the World EXPO 2010, Shanghai, China;
Chinese Contemporary Art From 1979-2009, Minsheng Art Museum, Shanghai, China;
The Constructed Dimension: 2010 Chinese Contemporary Art Invitational Exhibition, National Museum of China, Beijing, China;
Minimum, Shangyuan Art Museum, Beijing, China;
Made in Pop Land, Museum of Contemporary Art, Seoul, Korea;
2009年
《现场》;
受德国驻华大使馆之邀,为德国“柏林墙倒塌20周年”活动创作《柏林墙》;
“第53届威尼斯国际艺术双年展特别机构邀请展:给马可波罗的礼物”,意大利威尼斯;
“国家遗产:一项关于国家思想产生的视觉史方案”,曼彻斯特大学美术馆,英国曼彻斯特;OCT当代艺术中心,中国深圳;
“CHINAMANIA”,阿肯当代美术馆,丹麦哥本哈根;
“意派:世纪思维”,今日美术馆,中国北京;
“碰撞:关于中国当代艺术实验的案例”;
2009年
Scene – a "creative action" engaged upon the invitation of the German Ambassador to China to commemorate the 20th anniversary of the fall of the Berlin Wall;
A collateral Event of 53rd International Art Exhibition-La Biennale di Venezia-A Gift to Marco Polo, Venice, Italy;
State Legacy: A Visual History Project on the State Concept, Manchester Institute Research and Innovation of Art and Design; OCT Contemporary Art Terminal, Shenzhen, China;
Chinamania, Arken Museum of Modern Art, Copenhagen, Denmark;
Yi Pai, Today Art Museum, Beijing, China;
Collision-Experimental Cases of Contemporary Chinese Art, Fine Art Museum of the Central Academy of Fine Art, Beijing, China;
2008年
“视觉政治学:另一个王广义”,OCT当代艺术中心,中国深圳;
“冷战美学:王广义”,路易斯·布罗恩基金会美术馆,英国伦敦;
“个案:艺术史和艺术批评中的艺术家”,圣之空间艺术中心,中国北京;
“去中国·墙上的笔迹:中国八九十年代的新现实主义前卫艺术”,格罗宁根艺术博物馆,荷兰;
“今日中国”,贝尔维美术馆,比利时布鲁塞尔;
“遭遇”,佩斯北京画廊,中国北京;
“当代红光亮”,程昕东当代艺术空间,中国北京;
“前卫艺术·中国当代美术二十年”日本巡回展,国立新美术馆;日本国立国际美术馆;日本爱知县美术馆,日本;
“人民·历史:20世纪中国美术研究展”,中央美术学院美术馆,中国北京;
“革命在继续:中国新艺术”,查尔斯·萨奇画廊,英国伦敦;
2008年
Visual Polity: Another Wang Guangyi, OCT Contemporary Art Terminal, Shenzhen, China;
Cold War Aesthetics - Wang Guangyi, Louise Blouin Institute of Louise Blouin Foundation, London, The U.K.;
Case Studies of Artists in Art History , SZ Art Center, Beijing, China;
Writing On The Wall: Chinese New Realism and Avantgarde in the Eighties and Nineties, Groninger Museum, The Netherlands Today's China, Bellevue Museum, Brussels, Belgium;
Encounter, Pace Beijing Gallery, China;
Red, Smooth and Luminescent Contemporary Expression, Xindong Cheng Gallery, Beijing, China;
Avant-garde China: Twenty Years of Chinese Contemporary Art, The National Art Center, Tokyo, Japan; The National Museum of Art, Osaka, Japan; Aichi Prefectural Museum of Art, Japan;
People-History - Exhibition of Studies of Chinese Art of the 20th Century, Museum of China Central Academy of Fine Arts, Beijing, China;
The Revolution Continues - New Art From China, The Saatchi Gallery, The U.K.;
2007年
《东风-金龙》;
《战争与和平》;
《冷战美学》系列;
“王广义个展”,吕佩克画廊,法国巴黎;
“2007第二届莫斯科双年展:我们主导未来”,俄罗斯莫斯科;
“社会艺术”,特列恰可夫国家美术馆,俄罗斯莫斯科;
“后解严与后八九:两岸当代艺术对照”,国立台湾美术馆,中国台湾;
“红色热潮:当代亚洲艺术崛起”,休斯敦美术馆,美国休斯敦;
“2007上海艺术博览会国际当代艺术展:杰出艺术家”,上海展览中心,中国上海;
“第二届美术文献展:观念的形态”,湖北省艺术馆,中国武汉;
“追补的历史:馆庆十周年馆藏当代艺术展1997-2007”,广东美术馆,中国广州;
“'85新潮:中国第一次当代艺术运动”,尤伦斯基金会当代艺术中心,中国北京;
“十年一觉”,和静园艺术馆,中国北京;
“绝对图像Ⅱ”,阿拉里奥纽约画廊,美国纽约;
“金蝉脱壳:从传统和革命中的语言拯救”,四方美术馆,中国南京;
“共震:运动视界艺术展”2007-2008巡回展,上海当代艺术馆,南京南视美术馆,鲁迅学院美术馆,四川美术馆,今日美术馆,中国;
2007年
East Wind – Golden Dragon;
Cold War Aesthetic Series;
Wang Guangyi, Thaddaeus Ropac Gallery, Paris, France;
We Are Your Future: Special Project in Moscow Biennale 2007,Moscow, Russia;
Chinese Contemporary Sots Art, The State Tretykov Gallery,Moscow, Russia;
Post-Martial Law vs. Post-’89: The Contemporary Art In Taiwan and China, Taiwan Museum of Art, China;
RED HOT: Asian Art Today,Houston Museum of Fine Arts, Houston, The USA;
SH Contemporary 2007-Best of Artists, Shanghai Exhibition Center, ShangHai, China;
Forms of Concepts: 2nd Documentary Exhibition of Fine Arts, Hubei Art Scene, Wuhan, China;
The Supplemental History : Contemporary Artworks from Collection of Guangdong Museum of Art, Guangdong Museum of Art, Guangzhou, China;
'85 New Wave: the Birth of Chinese Contemporary Art, Ullens Center for Contemporary Art, Beijing, China;
1997-2007 Awakening from a Ten- Year Long Sleep, Hejingyuan Art Center, Beijing, China;
Absolute Images II, Arario New York Gallery, New York, The USA;
Escape By Crafty Scheme: Salvation From Traditional And Revolutional Language, Square Gallery of Contemporary Art, Nanjing, China;
Sport in Art 2007 - 2008, Museum of Contemporary Art, Shanghai, China; Art Museum of Guangzhou Art Academy, China; RCM the Museum of Modern Art, Nanjing, China; Gallery of Luxun Art Academy, Shenyang, China; Sichuan FineArts Museum, China; Today Art Museum, Beijing, China;
2006年
《冷战美学》;
“王广义个展”,阿拉里奥画廊,韩国首尔;
“江湖”,提顿画廊,美国纽约;
“绝对图像Ⅰ”,阿拉里奥画廊,韩国首尔;
“柏拉图和他的七种精灵”,OCT当代艺术中心,中国深圳;
“从‘极地’到‘铁西区’:东北当代艺术展1985-2006”,广东美术馆,中国广州;
“展开的现实主义:1978年以来中国大陆油画”,台北市立美术馆,中国台湾;
“创造历史:中国20 世纪80 年代现代艺术纪念展”,OCT当代艺术中心,中国深圳;
2006年
Cold War Aesthetic;
Wang Guangyi, Arario Seoul Gallery, Seoul, South Korea;
Jiang Hu, Tilton Gallery, New York, The USA;
Absolute Images I, Arario Seoul Gallery, Korea;
Plato and His Seven Spirit, OCT Contemporary Art Terminal, Shenzhen, China;
From "The Frigid Zone" to "The Old Indus trial Area": Northeast Contemporary Art Exhibition of China 1985-2006, Guangdong Museum of Art, Guangzhou, China;
The Blossoming of Realism: The Oil Painting of Mainland China since 1978, Taipei Fine Arts Museum, Taiwan, China;
Create History: Commemoration Exhibition of Chinese Modern Art in 1980s, OCT Contemporary Art Terminal, Shenzhen, China;
2005年
《安徒生的火柴》;
《私密广告》;
《上帝之手》;
《唯物主义者》;
“体温:纪念安徒生诞辰200周年中国当代艺术邀请展”,北日德兰艺术馆,丹麦奥尔堡;
“OCT当代艺术中心开幕邀请展”,OCT 当代艺术中心,中国深圳;
“开启2005:第八届国际雕塑与装置展”,利多岛,意大利威尼斯;
“美丽的讽喻”,阿拉里奥北京画廊,中国北京;
“明日,不回眸”,国立台北艺术大学关渡美术馆,中国台湾;
2005年
The Matchstick of Anderson;
Private Advertisement;
Hand of God;
Materialist;
Body Temperature: Invoking the Legacy of Hans ChristianAnderson through Chinese Contemporary Art, Nordjyllands Kunstmuseum, Aalborg, Denmark;
Invitation Exhibition: Opening Ceremony of OCT Contemporary Art Terminal, OCT Contemporary Art Terminal, Shenzhen, China;
Open 2005 - 8th International Exhibition of Sculpture and Installation, Lido, Venice, Italy;
Beautiful Cynicism, Arario Beijing Gallery, China;
Always to the Front: China Contemporary Art, Kuandu Museum of Fine Arts, Taipei National Musuem of the Arts, Taipei, China;
2004年
《人民战争方法论》;
“王广义个展”,乌斯麦勒画廊,瑞士卢塞恩;
“身体·中国”,马塞当代艺术博物馆,法国马塞;
“沙丘雕塑”巡回展,诺瓦拉画廊,法国巴黎;汉雅轩画廊,中国香港;法国图像及造型艺术著作人协会,法国巴黎;
2004年
Methodology of People's War;
Wang Guangyi, Urs Meile Gallery, Lucerne, Switzerland;
China, the Body Everywhere? (Chine, Le corps partout?), Museum of Contemporary Art, Marseilles, France;
Art on the Beach: Sculptures, Gallery Enrico Navarra, Paris, France; HanArt TZ Gallery, Hong Kong, China; ADAGP, Paris, France;
2003年
《永放光芒》系列;
“王广义个展”,诺瓦拉画廊,法国巴黎;
“中国,你好?”,蓬皮杜艺术中心,法国巴黎;
“来自中国的艺术”,印尼国家美术馆,印尼雅加达;
“开放的时代:纪念中国美术馆建馆40周年”,中国美术馆,中国北京;
“印尼2003开放双年展”,印尼国家美术馆,印尼雅加达;
“超越界限”,沪申画廊,中国上海;
2003年
Shining Forever Series;
Wang Guangyi, Enrico Navarra Gallery, Paris, France;
Alors, La Chine?, Pompidou Art Center, Paris, France;
From China with Art-The Exhibition of Contemporary Chinese Art, Indonesian National Gallery, Jakarta, Indonesia;
An Opening Era: Celebration of 40th Anniversary of Founding of National Museum of China, National Museum of China, Beijing, China;
CP Open Biennale 2003, National Gallery, Jakarta, Indonesia;
Beyond Boundaries, Shanghai Gallery of Art, Shanghai, China;
2002年
《一份报纸的历史》;
“图像就是力量”,何香凝美术馆,中国深圳;
“中国的现代性”,阿罗罗·阿尔瓦雷斯·彭特亚多基金会美术馆,巴西圣保罗;
“巴黎—北京”,ESPACE CARDIN,法国巴黎;
“Take Part Ⅱ”,乌斯麦勒画廊,瑞士卢塞恩;
“传媒与艺术”,中国国际展览中心,中国北京;
“金色收获:中国当代艺术大展”,萨格勒布美术馆,南斯拉夫克罗地亚;
“第一届中国当代艺术三年展”,广州艺术博物馆,中国广州;
“观念的图像:2002中国当代油画邀请展”,深圳美术馆,中国深圳;
“重新解读:中国实验艺术十年—首届广州当代艺术三年展(1990—2000)”,广东美术馆,中国广州;
2002年
The History of a Newspaper;
The Power of Image, He Xiangning Art Museum, Shenzhen, China;
Chinese Modernity, Fundacao Armando Alvares Penteado, Sao Paulo, Brazil;
Paris-Peking, Espace Cardin, Paris, France;
Take Part Ⅱ , Urs Meile Gallery, Lucerne, Switzerland;
Media and Arts, International Exhibition Center, Beijing, China;
Golden Harvest: Chinese Contemporary Art, Zagreb Museum of Art, Hrvatska;
The First China Triennial, Guangzhou Art Museum, Guangzhou, China;
Concept Image: 2002 China Modern Oil Painting Invitation Exhibition, Shenzhen Art Museum, Shenzhen, China;
The First Guangzhou Triennial : Reinterpretation: A Decade of Experimental Chinese Art (1990- 2000), Guangdong Museum of Art, Guangzhou, China;
2001年
《唯物主义者》系列;
《基础教育》;
《劳动者纪念碑》;
“王广义个展:信仰的面孔”,斯民艺苑,新加坡;
“新形象:中国当代艺术20年”巡回展,中国美术馆,上海美术馆,成都四川美术馆,广东美术馆,中国;
“多元城市:亚洲流动艺术展”,汉堡艺术宫,德国汉堡;
“下一代:亚洲当代艺术”,帕萨热·德雷斯美术馆,法国巴黎;
“5位中国前卫艺术家”,ARTSIDE画廊,韩国首尔;
“被移植的现场:暨第四届深圳当代艺术雕塑展”何香凝美术馆,中国深圳;
2001年
Materialists Series;
Basic Education;
The Laborer Monument;
Wang Guangyi: Face of Faith,Soobin Art Int'l Gallery, Singapore;
Towards New Image:20 Years of Chinese Contemporary Art, National Museum of China, Beijing, China. etc;
Polypolis: Art from Asian Pacific Megacities, Kunsthaus Hamburg, Germany;
Next Generation: Art Contemporain d’Asie, Passage de Retz, Paris, France;
5 Chinese Avant-garde Artists, Artside Gallery, Seoul, Korea;
Transplantation in Situ, He Xiangning Art Museum, Shenzhen, China;
2000年
《唯物主义时代》;
《信仰的面孔》系列;
“世纪之门:1979-1999邀请展”,现代艺术馆·中国成都;
“社会:第二届上河美术馆学术邀请展”,上河美术馆·中国成都;
“20世纪中国油画展”,中国美术馆·中国北京;
“Futuroe:中国当代艺术展”,澳门当代艺术中心·中国澳门;
2000年
The Era of Materialism;
Face of Faith Series;
Door of the New Century, Chengdu Art Scene, Chengdu, China;
Society: The 2nd Academic Exhibition Upriver Gallery, Upriver Gallery, Chengdu, China;
20th Century Chinese Oil Painting Exhibition, National Museum of China, Beijing, China;
Futuroe: Chinese Contemporary Art, Contemporary Art Center of Macau, Macau, China;
1998年
“蜕变:中国新艺术”1998-2000巡回展,亚洲文化中心及P.S.1当代艺术中心,美国纽约;旧金山当代艺术博物馆、旧金山亚洲艺术博物馆,美国旧金山;卡斯蒂利亚当代艺术博物馆,墨西哥蒙特雷;塔克玛艺术博物馆,美国西雅图“世纪之门:1979-1999邀请展”,现代艺术馆,中国成都;
1998年
Inside Out-New Chinese Art 1998-2000, Asia Society Galleries, New York, The USA; P.S.1 Contemporary ArtCenter, New York, The USA; San Francisco Museum of Modern Art and The Asian Art Museum of San Francisco, San Francisco, The USA; Museo de Arte Contemporaneo, Monterrey, Mexico; Tacoma Art Museum and the Henry Art Gallery, Seattle, The USA;
1997年
《24小时食物的变质过程》;
“数字与神话:20世纪艺术回顾展”,斯图加特美术馆,德国斯图加特;
“面孔与身体的王国:90年代的中国艺术”,鲁道夫美术馆,捷克布拉格;
“红与灰:8位中国前卫艺术家”,斯尼艺苑,新加坡;
“引号”,新加坡国家美术馆,新加坡;
“进与出”,拉萨尔艺术学院美术馆·新加坡;澳大利亚墨尔本、悉尼;何香凝美术馆,中国深圳;
1997年
24-Hour Food Degeneration Process;
Magie der Zahl-In der Kunst des 20 Jahrhunderts, Staatsgalerie, Stuttgart, Germany;
Chinese Art of The 1990s: Faces and Bodies of The Middle Kingdom, Gallery Rudolfinum, Prague, the Czech Republic;
Red and Grey-8 Avant-garde Chinese Artists, Soobin Art Gallery, Singapore;
Quotation Marks, Singapore Art Museum, Singapore;
In and Out, LASALLE-SIA College of the Arts, Singapore; Arts Gallery of Sydney College, Australia; He Xiangning Art Museum, Shenzhen, China;
1996年
《验血——所有人都可能是病毒携带者》;
《卫生检疫——所有食品都可能是有毒的》;
《两种体制下的关于食品保质观念的异同》;
《物种起源——欧洲文明史》;
“目击者:王广义个展”克劳斯·丽特曼文化中心,瑞士巴塞尔;
“回望”,路德维西美术馆·德国科隆;
“中国!”,波恩艺术博物馆·德国波恩;
“第二届亚太当代艺术三年展”,昆士兰博物馆·澳大利亚布里斯班;
“首届当代艺术学术邀请展”,中国美术馆,首都师范大学美术馆·中国北京;
1996年
Blood Test-Everyone is a Potential Virus Carrier;
Quarantine-All Food is Potentially Poisonous;
The Similarities and Differences of Food Guarantees under Two Political Systems;
Origin of Species - the History of European civilization;
Witnessed - Wang Guangyi, Littmann Kulturprojekte, Basel, Switzerland;
Begegnungen mit China, Ludwig Forum Fur International Kunst, Germany;
China!, Kunst Museum Bonn, Germany;
The Second Asia-pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia;
The First Academic Exhibition of Chinese Contemporary Art, National Museum of China, Beijing, China; The ArtMuseum of Capital Normal University, Beijing, China;
1995年
《毒品》;
《白面》;
《新媒体——北京胡同的垃圾车》;
“艺术:斯沃基”,芝加哥建筑与设计艺术博物馆·美国芝加哥;
“新亚洲艺术展”,麒麟美术馆,日本大阪;东京艺术基金会·日本东京;
“从国家意识形态出走:中国新艺术”,国际文化中心·德国汉堡;
“中国前卫艺术”,圣地莫尼卡美术馆·西班牙巴塞罗那;
1995年
Drugs;
Flour;
New Media – Beijing Hutong Garbage Cart;
Art to Swatch, Museum of Architecture and Design, Chicago, The USA;
New Asian Art Show-China, Korea, Japan, Kilin Plaza, Osaka;Foundation Forum, Tokyo, Japan;
Der Abschied Von Der Ideologie, Neue Kunst Aus China, Hamburg, Germany;
Aperto 95, Avant-gardes Artistiques Xinesses, Santa Monica Center d’Art, Barcelona, Spain;
1994年
《VISA》;
《自由选择》;
“王广义个展”,汉雅轩画廊,中国香港;
“第22届圣保罗双年展”,巴西圣保罗;
“中日韩'94北京国际现代艺术作品展”,首都师范大学美术馆·中国北京;
“汉城建都600年国际艺术邀请展”,国家当代美术馆·韩国首尔;
1994年
VISA;
Freedom of Choice;
Wang Guangyi, Hanart TZ Gallery, Hong Kong, China;
22ed Sao Paulo Art Biennial, Sao Paulo, Brazil;
94 Beijing International Com-Art Show: China, Korea, Japan, The Art Museum of Capital Normal University,Beijing, China;
600 Seoul International Art Festival, National Museum of Contemporary Art, Seoul, Korea;
1993年
“第4 届威尼斯双年展”,意大利威尼斯;
“毛走向波普”巡回展,当代艺术博物馆,澳大利亚悉尼;维多利亚国家美术馆,澳大利亚墨尔本;
“中国新艺术”,玛勃洛画廊,英国伦敦;
“后八九中国新艺术”巡回展,香港艺术中心,中国;台湾汉雅轩画廊,中国;牛津现代艺术博物馆,英国牛津;
“中国前卫艺术展”巡回展,世界文化宫,德国柏林;鹿特丹美术馆,荷兰;牛津现代艺术博物馆,英国;丹麦欧登塞、克雷德工厂艺术馆;
1993年
45th Venice Biennale, Venice, Italy;
Mao Goes Pop, The Museum of Contemporary Art, Sydney,Australia; National Gallery of Victoria, Melbourne, Australia;
China's New Art, Marlborough Gallery, London,United Kingdom;
China's New Art, Post-1989, Hong Kong Arts Center, Hong; Kong, China; "Political Pop, China's New Art":HanArt Taipei Gallery, Taipei, China; "New Art from China":Museum of Modern Art, Oxford, The U.K;
China Avant-garde, Haus Der Kulturen Der Welt, Berlin,Germany; Kunsthal Rotterdam, The Netherlands; The Museum of Modern Art, Oxford.The U.K.; Kunsthallen Brandts Kladefabrik, Odense, Denmark;
1992年
“90年代艺术双年展”,广州国际展览中心·中国广州;
1992年
The 1st Biennial of Art in the 1990s,Guangzhou International Exhibition Center, China;
1991年
Cocart:后波普国际邀请展”,比昂卡·皮莱特画廊,意大利米兰;
1991年
Cocart Bevete Arte Contemporarea,Bianca Pilat Gallery, Milan, Italy;
1990年
调入武汉湖北工业大学任教,开始对两种文化的冲突和解构主义美学思想有兴趣;
《大批判》系列;
《中国温度计》;
《中国与美国温度的比较》;
“不和塞尚玩牌”,亚太艺术博物馆,美国加州;
1990年
Wang transfers to the Wuhan Polytechnic University as an instructor; He becomes interested in cultural conflict and the aesthetics of deconstructionism;
Great Criticism Series;
Chinese Thermometer;
Comparison between Chinese and American Temperature;
I Don't Want to Play Cards with Cezanne,Asian Pacific Museum, California, The USA;
1989年
《易燃易爆》;
《被工业快干漆覆盖的名画》系列;
《国际政治》系列;
“中国现代艺术展”,中国美术馆·中国北京;
1989年
Inflammable and Explosive;
Famous paintings Covered with Industrial Quick Drying Paint Series;
International Politics Series;
China Avant-garde, National Museum of China, Beijing, China;
1988年
参加“黄山现代艺术研讨会”,并在会议上提出“关于清理人文热情”的艺术观点,开始思考艺术必须和现实生活相关联的问题;
《毛泽东AO》;
“中国现代美术展”,岐阜县美术馆·日本;
1988年
Wang participates in the Huangshan Conference on Modern Art, where he presents his artistic viewpoint "On the Clearing Out of the Humanist Passions" He begins to consider the idea that art must be connected to real life;
Mao Zedong AO;
Chinese Contemporary, Museum of Fine Arts, Gifu, Japan;
1987年
Red Rationality Series;
Black Rationality Series;
1987年
《红色理性》系列;
《黑色理性》系列;
1986年
Wang transfers to the Zhuhai Painting Academy as a professional painter. He becomes interested in researching the possibility of the "schema correction" of classical culture in the modern conscious. He organizes the "'85 New Wave Slide Exhibition and Academic Symposium" together with Shu Qun, Gao Minglu and Li Xianting;
Post Classical Series;
1986年
调入广东珠海画院,任专业画家;对西方古典文化在现代人的意识中的“图式修正”这种可能性具有了研究的兴趣;与舒群、高名潞、栗宪庭等共同策划在广东珠海举办“’85美术新潮大型幻灯展及学术讨论会”;
《后古典》系列;
1985年
毕业后在哈尔滨工业大学建筑学院任教,与舒群、任戬、刘彦等组织和创立“北方艺术群体”,思考和关注本土文化可能具有的意义;期间,全国各地新艺术创作团体纷纷成立;
《凝固的北方极地》系列;
1985年
Upon graduation, Wang takes a job as a teacher at the Harbin Polytechnic University Academy of Architecture. He founds the Northern Artists Group together with Shu Qun, Ren Jian and Liu Yan, which ponders the potential significance of the local culture; During this time, new artist Groups emerge across the country;
Frozen North Pole Series;
1980-1984年
考入中国美术学院(原浙江美术学院)油画系;大学四年,早期主要研究古典艺术,晚期对现代艺术发生兴趣,完成毕业创作《雪》;参加第六届全国美展;
1980-1984年
Wang is admitted into the China Academy of Art (formerly Zhejiang Academy) Oil Painting Department; In four years at college, Wang mainly studies classical art, becoming interested in modern art later on. Wang creates his graduate thesis work, Snow, and attends the 6th National Fine Art Exhibition;
1977-1979年
在铁路工程队当筑路工人;期间,高考制度重新开始,工作之余复习各种功课,为报考美术学院作准备;
1977-1979年
Wang joins a railway construction brigade. During this time, the college entrance examination system is restored, and he spends his spare time studying for the exam and preparing to apply to art school;
1973-1977年
中学毕业后,以“知识青年”的身份到黑龙江省召州县永乐公社农村接受再教育;劳动之余,画了大量的风景写生和速写,同时接触了大量文学作品;
1973-1977年
Upon graduation from middle school, Wang is sent tot he countryside as an "educated youth"; his reeducation takes place at the Yongle Commune in Zhaozhou County, Heilongjiang Province; In his spare time, Wang paints a large number of landscape paintings and sketch; he also encounters many literary works;
1969-1972年
哈尔滨就读初中,进入哈尔滨市少年宫美术学习班,开始正规的美术学习;
1969-1972年
Wang attends middle school; he begins proper artistic training with art classes at the Harbin Children's Palace;
1963-1969年
哈尔滨就读小学,小学三年级开始,作为“红小兵”参与“文化大革命“;通过在学校画“黑板报”开始美术学习;
1963-1969年
Wang attends primary school in Harbin; beginning in 3rdgrade, Wang participates in the Cultural Revolution as a "Little Red Guard"; his artistic studies begin with the drawing of "blackboard bulletins" for his school;
1957年
生于哈尔滨市;
1957年
Born in Harbin, China
  • 2010年 作品《毛泽东——红格 2号/Mao Zedong: Red Squares No. 2》《护照1号/Passport No.1》《护照/Passport》《大批判——香奈儿/Great Criticism: Chanel》,乌利·希克uli sigg;
  • 1992年 “90年代艺术双年展”文献奖;

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