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1963
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Chen Zhiguang naît à Xiamen, dans la province du Fujian, en Chine.
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1988
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Il est diplômé de l'Université Normale du Fujian ( section Beaux-Arts )
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2001
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Il va poursuivre ses études en Allemagne, à l'Académie des Beaux-Arts de Dusseldorf.
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Les fourmis, thème unique de son travail, le font connaître internationalement.
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2015
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Il crée le musée d' Art : Le Nid de la Fourmi, à Zhangzhou.
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Il vit et travaille actuellement à Fuzhou et Beijing.
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Danièle Sicard
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© Chen Zhiguang 陈志光 - OpenART 2015 14.06 06.09
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expositions individuelles sélection
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Chine |
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2007
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27.09 07.10 |
Musée Duolun |
Tao of Ants |
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Beijing
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Chine |
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2007
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Nine Cube Gallery
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Wake of Insects
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Beijing
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Chine |
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2008
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19.04 31.05 |
Gallery TN
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Animal politics
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Beijing
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Chine |
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2009
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08.08 11.02 |
Beyond Art Space
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Ubiquity:
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Beijing
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Chen Zhiguang 2007-2009
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Chine |
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2015
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23.05 04.06 |
Musée Today |
With Dignity
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Beijing |
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Taiwan |
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2016
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15.07 15.08 |
Musée d'Art Contemporain |
Herds of Ants
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Taipei |
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Chine |
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2017
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18.11 18.12 |
Musée |
The King of Ants is back |
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Zhang Zhou |
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expositions collectives sélection
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Chine |
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2004
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10 ème Exposition Nationale d'Art |
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Changchun & Xiamen
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France |
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2004
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China-France |
China, Imagination
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Paris |
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Chine |
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2005
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Sulpture Millenium |
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Shanghai |
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Chine |
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2006
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The 2nd SongZhuang Art Festival
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Beijing |
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Chine |
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2007
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Musée d'Art Yanhuang
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Harmonious With Difference
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Beijing |
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Etats Unis |
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2009
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Meridian International Center
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Metropolis Now
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Washington
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•
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© Chen Zhiguang 陈志光 - OpenART 2015 14.06 06.09
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动物政治学
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catalogue de l'exposition du19.04 au 31.05 2008
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Gallery TN Beijing
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en chinois |
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28,3 cm x 21,5 cm |
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16 p |
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陈志光 Chen Zhiguang Solo Exhibition - 迷漫 Ubiquity
08.08 02.11 2009 Beyond Art Space Beijing
poster
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陈志光 Chen Zhiguang - 体面地 With Dignity
23.05 04.06 2015 Today Art Museum Beijing
poster
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乌合之众 Herds of Ants - 陈志光个展 Chen Zhiguang Solo Exhibition
15.07 15.08 2016 Museum of Contemporary Art Taipei
poster
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陈志光 Chen Zhiguang - 蚁王归巢 The king of ants is back
18.11 18.12 2017 Zhangzhou Museum Zhangzhou
poster
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© Chen Zhiguang 陈志光 - OpenART 2015 14.06 06.09
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Ants made of stainless steel and lacquer have always been a favored subject in Chen’s work.
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The coldness of these man-made materials blend with the natural characteristics of ants, forcing us
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to reflect on the colony-like structure of China, especially the acts of living and moving at a time of social
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transformation. After these ants are modeled, enlarged, and colored, they are juxtaposed and placed
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in different public places, which creates visual estrangement, and even anxiety. At the same time, Chen
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transforms and transplants the ants into real contexts, to immense dramatic and symbolic effect.
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The strange appearance of these ants both symbolizes and concretizes increased material consumption
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in Chinese society today.
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Feng Boyi
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