randian | 燃点

Pace Hong Kong will present a solo exhibition for the artist Yin Xiuzhen on 24 November 2016. This will be a continuation of the artist’s previous exhibitions at Pace Beijing in 2010 and 2013, but it is also a new emergence for the artist. The exhibition will be opened to the public at 6.00 p.m. on the evening of November the 24th; it will feature the artist’s newest series of works, entitled Instruments, and on view through 12 January 2017.

Yin’s focus on social realism has always revolved around social experience, and it also reflects sociopolitical, economical, and historical changes through the lens of the subtle and real circumstances of individuals. This deep concern for life itself is naturally and intuitively conveyed to audiences with the aid of the artist’s skill for manipulating everyday materials. During the creation of this new piece, the artist’s acute and richly insightful contemplations on the world once more begin to take shape through her choice of materials. The Instruments series featured in this exhibition is comprised of four parts: “ceremony instruments,” “wall instruments,” “lachrymal instruments,” and “blending instruments.”. The ceramics that appear in the form of “instruments” in this work may be viewed as “spiritual instruments,” which are vessels for complex and vivid lives, even souls.

About Yin Xiuzhen

A leading female figure in Chinese contemporary art, Yin Xiuzhen (b. 1963, Beijing, China) began her career in the early 1990s following her graduation from Capital Normal University in Beijing where she received a B.A. in oil painting from the Fine Arts Department in1989. Her artworks have since been shown extensively in various international exhibitions. Best known for her works that incorporate second-hand objects, Yin uses her artwork to explore modern issues of globalization and homogenization. By utilizing recycled materials such as sculptural documents of memory, she seeks to personalize objects and allude to the lives of specific individuals, which are often neglected in the drive toward excessive urbanization, rapid modern development and the growing global economy. The artist explains, “In a rapidly changing China, ‘memory’ seems to vanish more quickly than everything else. That’s why preserving memory has become an alternative way of life.”