A collection of Gu Xiong’s art works are available on pages 92-95. “In an era of technological innovation and media staturation, the theme of this biennale is extremely significant. When technology is changing our way of thinking and living, such weighty questions concern us: how to strengthen our intellect and expand our vision, how to[…]
Confronting Anitya was a series of group exhibition focusing on Chinese contemporary artists held in multiple cities around the world. Gu Xiong’s Waterscape installation was featured in the series. The catalogue about this exhibition also includes Gu Xiong’s installation on pages 92-93. The following is a brief description of this exhibition. “Facing Anitya hopes to present the[…]
For the past two years, the focus of my research and my practice revolves around the international seasonal workers and their living situations on Canadian farms. I am interested in the living conditions of the workers, their repeated heavy and dull labour work, as well as the oppression, memories, sentiments, and homesicknesses they are experiencing[…]
This statement was first printed in a catalog which accompanied the installation of Coquitlam Waterscapes at the Evergreen Art Centre. As a significant waterway in British Columbia, Coquitlam Lake is a watershed that serves as a source of drinking water for the Greater Vancouver Regional District. It is also the source of the Coquitlam River. The river, along with the[…]
In our life, Time is counted by seconds, Minutes, hours, days, Months, years and centuries; Past, present and future. Time is long, yet it is short. A place – a river, Holds myriad memories Of times gone by. Qingping is a small village. It sits beside a small, green river In the mountains of Southwest[…]
Karaoke Hyperspace: Gu Xiong’s Red River as a study of Placemaking was originally published in the fall 2008 issue of the Yishu Contemporary Art Journal. Instead of resting on metaphors of here/there or homeland/site of resettlement, Gu’s exhibition becomes a deep meditation on constant mobility in the physical and virtual realms of contemporary life. In her recent study of[…]
This book has a dedicated chapter about Gu Xiong published on pages (107-118). The following sentences are taken from the introduction section of this book (page 10). “Many of the finest artists of the post-Mao age had spent some of their formative years as rusticated urban youths. These include the multimedia artist Gu Xiong, now based in[…]
Event magazine, Vol 32, No. 3, 2004, published Gu Xiong’s photograph, Forbidden City Kodak, on the front cover. It also includes the following quote from Gu Xiong: “A seamless merging of designs, almost invisible at first glance. A subtle adaptation to the ‘no signage’ dictate of the Forbidden City, this doorway provides a power vision of[…]
The author mentions Gu Xiong on pages (130-131). The text below is short description of the book. “Chinese Contemporary Art 1978-2008” was recently published and issued by Hunan Fine Arts Publishing House. In order to vividly and clearly present Chinese contemporary art, to make Chinese contemporary art history reach people’s horizons, the author has changed[…]
The Capilano Review journal, Vol 3, No. 16, 2012 features Gu Xiong’s photograph, The Concrete Nail, on the front and back cover. It also includes a section about Gu Xiong’s group research project in collaboration with Jennifer Chung, and Chris Lee, Waterscapes: Working Notes on Globalization, on pages 36-48. The print edition of TCR is[…]
This book includes a chapter on pages 213-236 featuring one of Gu Xiong’s group project, The City of Richgate. You may visit the exhibition page by clicking here. The following paragraph is a description of this book: Creative Arts in Research for Community and Cultural Change features illustrative articles describing the creative arts in research[…]
Arts and Learning research journal Vol 25, No. 1 features Gu Xiong’s installation, You & I, on the front cover. This edition also includes a brief one page biography of Gu Xiong as the cover artist. The Arts and Learning Research Journal is published yearly and distributed in April by the Arts and Learning Special Interest[…]
The second section of this book, titled Ruminations on Creative, includes a sub-section from page 67-75 featuring Gu Xiong called In My Own Words. The sub-section includes a short biography of Gu Xiong, an essay by him, and a selective collection of his art works and poems. The following paragraphs is taken from Robert Kelly’s[…]
Gu Xiong is featured as one of the voices in this book published by UBC Press. There is a dedicated chapter about Gu Xiong in section 2 of this book, Voices, under Cross the Threshold on pages 195-203. The following paragraph is a short description of the book taken from the publisher’s website. You may purchase this[…]
Performance Art in China was published by Timezone 8, Beijing, China, 2006. Author of this book includes a section on page 87-88, featuring Gu Xiong’s theatrical performance staged in the China Art Gallery, Interior View. The following paragraph is a brief description of this book published on its cover: “Performance Art in China takes as[…]
Harbour published, Shock Culture: A Performance, by Gu Xiong and Henry Tsang in Vol 1, No. 4 1992 on pages 46-48. An excerpt of this edition is illustrated below.