Chinese artists by Michel Nau - Sheng Qi

 
 

 

 
 

 

 
 

Sheng Qi

 
 

盛奇

 
 

 

 

 © Sheng Qi

 
biography  
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1965

Sheng Qi was born in Hefei, Anhui province, China

   

1984

He was a member of the 1985 New Wave Movement ; movement involving artists

 

not selected to participate in the 6th exhibition in Beijing.

   

1986

He was one of the founders with Zhao Jianhai, Kang Mu, Zheng Yuke and Xi Jianjun,

 

of the Chinese art group : Concept 21. The name of the group is also the  title of their

 

first performance, given on the Campus of Beijing University.

   

1987

The next Year, they used the Great Wall, in Gubeikou, and the Summer Palace

 

as backdrops.

  But the group was quickly censored.
   

1988

He graduated from the Beijing Central Academy of Arts and Design.

   

1989

After the events of  Tian'an men Square, in a sign of protest, he cut off

  the little finger on his left hand and buried it in a flowerpot  then he left his country
  for Europe.
   

1990

He spent two years in Roma.
   

1993

He moved to London and studied at Central saint Martin's College of Art  and Design.

   

1998

He graduated with a M.F.A. from Central saint Martin's College of Art and Design, London.
   

1999

He went live in Beijing and taught at the Central Academy of Art and Design.
   

2010

He returned to London where he currently lives.
   
   
  Danièle Sicard

   
Sheng Qi wwww.sheng-qi.com
Wiegersma Fine Arts  Brussels

www.tjerk-wiegersma.com/

F2 Gallery  Beijing

www.fabienfryns.com/

Hua Gallery  London  

www.hua-gallery.com

Andrew James Art 

http://www.andrewjamesart.com/

Gallery Albert Benamou - Véronique Maxé  Paris www.galeriebenamou.com
Gallery Daniel Besseiche  Paris www.besseiche.com

 

 

 
 

©  Sheng Qi

 
 
  En souvenir du 4 juin, Sheng Qi s'est sectionné l'auriculaire gauche.  
 

Sur sa paume ouverte, une photographie d'identité jaunissante.

 
 

Si les souvenirs passent, le corps mutilé reste. Le cliché fait le tour du monde.

 
 

Art de l'éphémère par nature, la perfomance prend l'image comme support

 
 

d'enregistrement, sans se douter que ces reproductions d'une réalité mise en scène

 
 

deviendront dans le monde de l'art contemporain les icônes de la photographie

 
 

chinoise post-Tiananmen. La relation décisive n'unit plus l'artiste et son sujet,

 
 

mais le performeur - ou son image - et le spectateur. La photographie se théâtralise.

 
  Philippe Pataud Célérier  
     
  La Chine dans l'objectif des Chinois  extrait  
  in Le Monde diplomatique N° 706 Janvier 2013  p 14-15  
     
 
 
     

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