|
||||||||||||||||||||||||||||||||||||||||||||||||||||
1968 生於中國昆明
1991 畢業於雲南藝術學院美術系 獲學士學位
2000 畢業於中央美術學院雕塑系 獲碩士學位
現工作生活於中國北京
個展
2009 “可視的體溫”曹暉個展，偏鋒新藝術空間，
北京
2008 “文明的盛宴”曹暉雕塑作品個展，寒舍空
間，臺北
展覽
2009 “之乎者也”－當代藝術的修辭學，紅星畫
廊，北京
2009 “時差”，林大藝術中心，北京
2009 “源點”，MANO藝術，北京
2009 “發現”，鑄造藝術館，北京
2009 “各搞各的”歧視當代，台北當代藝術館，
台北
2008 “中國幻想”鑄造藝術館開幕展，鑄造藝
術館，北京
2008 第六屆深圳當代雕塑藝術展成都巡展，
OCT當代藝術中心，成都
2008 “移花接木”中國當代藝術中的後現代方
式，華．美術館，深圳
2008 “向內”，偏鋒新藝術空間，北京
2008 “自由落體”，陳綾蕙當代空間，北京
2008 “變臉”，青和當代美術館，南京
2007 “透視的景觀”--第六屆當代雕塑藝術展，
何香凝美術館，OCT當代藝術中心，深圳
2007 “指鹿為馬”--雕塑四人展，三尚藝術中心
，北京
“戲浪”--當代藝術展，多倫美術館，上海
2007 “和”--國際當代藝術展，A—space空間，
北京
2006 “二踢腳”中國當代藝術展，唐人畫廊，
北京
“奢時代．雕塑藝術寓言”中國當代雕塑
家作品聯展，海逸長洲， 天津
2003 “轉向”《當代美術家》首屆年度邀請展，
重慶美術館，重慶
2001 上海青年藝術展，上海美術館，上海
2001 西湖國際雕塑邀請展，西湖美術館，杭州
2000 中國當代雕塑若干標準像展，上海美術
館，上海
2000 第二屆青年雕塑家邀請展，西湖美術館，
杭州中國高等美院畢業生作品選拔展，
青島雕塑館
，青島
1995 國際美術作品邀請展，長春美術館，長春
1995 中國雕塑家聯展，隔山畫廊，台北
1994 第八屆全國美展獲獎作品展，中國美術
館，北京
獲獎
1994 “第八屆全國美展優秀作品獎”
2000 “雲南省文學藝術創作獎”
Cao Hui’s early sculpture work has been produced following the aesthetics principle of realism. His work is simple and not perverse. The symbol and metaphor of his work has filled with spiritual space influenced by traditional realistic training. In fact, the meaning of art exploration can not be revealed until we could reach the spirit of an artist. Therefore we could touch the essence of some of his sculpture work. Here the realism has no more been an old concept or a pronoun for a dead production style. In the hands of Cao Hui, realism sculpture language has been activated by modernized narrating spirit and become the best decoding for understanding of realistic existentialism. If we regard realism as the fundamental context of artist’s immaterial presentation, we will realize that it has no more imitated the realistic image merely but created more possibilities of realistic world. Meanwhile it has no more simply replicated the appearance of the world but has actively gotten involved with the establishment of a spiritual world and the exploration of its inner secret. From 2003-2005, Cao Hui has produced a series of sculpture work “the Children of Art History”, putting together the realistic part and fictive part of classical work in the art history of the world including China. It is not only an experiment on his own sculpture work but also an attitude and manner towards traditional classical work. In this way, he has made the familiar art work become strange to challenge the expectation of the audiences so as to help them experience the joy with surprise from a completely new aspect and new model as well as the freedom out of the bondage of tradition. His work has also made the audiences realized that what they have seen were not the classical work in art history but the “new” historical visual image characterized with Cao Hui’s own style. Precisely speaking, Cao Hui has revealed his thoughts and perception on tradition and modernization, today and the future, the uncertainty of history and multi-meaning through a multiple relationship among individual, traditional classic and history. He also hopes to find and keep the profundity and attraction of visual image through the bridge he has conducted. He has managed to destroy the power of traditional classic with its own energy and changed the direction of its function and power. Through disclosing the limits of accepted visual model, his work has challenged the authority of one-fold depiction, made the standard provided by the familiar art work transitory and trustless and afforded for thoughts through a sense of humor.
While his recent work “Disclose You” does not flaunt his skill on realism. From my point of view, the view and technique of his work lie in his cognition and judgment of realistic situation. This judgment fills up with pathos, which has no more extent to a grand narration of reality and history but hidden beneath the bodies of animals and plants and under the disclosed skins. It has a meaning of salvation and mercifulness, reflecting the inner conflicts during China’s modernization progress. Apparently “Disclose You” has described specific image of gorilla and other animals, forming a logical feature against the real existence. Essentially it has reflected the inner conflicts and rupture of modernization. In another word, Cao Hui has revealed his attitude towards reality and nature through metaphors of animals’ texture and stance for his realistic manifestation of the animals has brought an estranged effect and false sight. In reality, the sculpt itself is absurd and not true but has some similarity with our realistic circumstances. According to the evolutional theory of Darwin, gorilla is relative of human beings while domestic animals being tamed and raised by human beings. They can be a symbol of ecological environment. Cao Hui has made a sharp comparison between meek animals and bloody scene so as to reflect the exploitation and greed of mankind to nature during the “modernization” progress. Instead of describing fortune of misfortune of those animals, it has described the result of conflicts and special scene during the course of modernization. The influence of modernization has been extended to every sphere of human life, particularly embodied in the adoration of infinite power of subject and excess exploitation of natural resources, which are the soil for the development of modernization. The paradox, contradiction and loss of control hidden behind the course of modernization have produced the “absurd” results. It is the key of the issue and intention of Cao Hui’s product as well as his realistic pertinence. The series work of “Disclose You” by Cao Hui has allegorized the reality of human life by their abundance and verisimilitude. That is animal allegory or animalized realistic allegory, which has named history and the present. When Cao Hui finished his art work and presented to the public, he has also accomplished his jocosity and subversion of the reality. Doing it from the image and view of animals, he could throw off his responsibility in so called reality intervention. From the image of animals and their disclosed skins he has picked up the fragments of human nature. His exaggerated expression has reached an acme, which represents his own experience and anxiety. He has intentionally used the art technique of super-realism to leave his own witness, expression and consciousness. Perhaps it could also be a meaningful warning, a calling for basic humanitarianism after his meditation on human life. Meanwhile his boldness is established on the conversation and understanding of tradition and classicality. His animal transmogrification is a post-modernization narration with rich magic color. From this point of view, his work is a sculpture art of consubstantiality of human and animal as well as an allegory historically and contemporarily. The setting has not only brought a driving power to the work but also brought profundity to the feature and fortune of those animals. I even believe that the key of Cao Hui’s recent work lies in his abortive building of an ultimate tension so as to make it sharper, poignant, straight-out and plangent.
Art is not a simple, mirror-like reflection of reality. It is not only distant from reality, but is the expansion of complicated, multiple relationships in reality. It is not imagining a viewer’s complete, unconditional trust and affirmation of visual sculpt, but is on the boundary between concrete images of reality and unreal scenes, seeking a different and new judgment and thinking about reality through ultra-realistic metaphor of images. Hence, this choice by Cao Hui is a re-experiment of a simple view of reality and art, an artistic elevation and transformation of concrete images. Through his continual search to attempt possible creative scope of sculpture, he is incessantly questioning himself the relationship of the factual and fictional in artistic presentation.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|
|
|
|
|
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|
|
|
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||