17,347 research outputs found
Lecture by Xu Bing, given at Florida International University, February 21, 2015
No full textXu Bing talks about his work and exhibitions and shares images of his works.
Introduction by Lidu Yi.
Comments by Jordana Pomeroy
Chinglais : l’art de Xu Bing
Full text linkTowards the end of the 1980s, Xu Bing worked for five years, manipulating more than 4000 Chinese characters, adding or removing some of their appendages to relieve them of their comprehensible idiosyncrasies as signs of the Chinese language. He thus created what he called the “Tianshu”, the book (shu) of the sky (tian). This work compels us to rethink the properties of language. The Tianshu is not merely the artistic project of an eccentric, it is a vision of language infused with politics. Xu Bing created a paradox: a complex and diverse semiotics directed against the idea of usefulness to the community. He created a negation of language. From its lack of meaning, the Tianshu thus produces the same affective reaction as to a language we do not know, or to a dead language – extinct with its last speakers. It denies reality. Through the Tianshu and the rest of his work, Xu Bing does not intend to kill language but rather conceive a language beyond human authority
Anxiety of the Unknown in Art: Xu Bing\u27s A Book from the Sky
Full text linkDiscusses Xu Bing\u27s A Book from the Sky, an art installation piece composed of books, scrolls and banners written in pseudo-Chinese characters. The author posits that the purpose of the piece is to reflect the viewer\u27s anxieties about the comprehension of language and information back onto themselves. The author\u27s entry essay for the 2014 Undergraduate Research Awards is included
A Contemporary Spin on Tradition: Xu Bing\u27s Cultural Exploration
Full text linkThis paper analyzed the artwork of Xu Bing and his exploration of cultural values, specifically of language in China. Chinese is one of the oldest written languages of the world, with forms established by 1000CE. One of the purposes of classical Chinese calligraphy was self expression. The Cultural Revolution of the 1960s and 70s brought a shift to this tradition by using large characters as propaganda. Xu Bing uses prominent symbols of culture and language, stemming from the classical teaching of his parents and his work experience during the Cultural Revolution, to convey views of society, as well as to challenge them. In The Book from the Sky he presents a confronting image of Chinese language in classical forms of scrolls and single sheets, which seems authentic but is in fact made with characters invented by the artist. The work shuns the idea of any meaning through reading and portrays the struggle of communication and keeping traditions alive. My paper argues that Xu Bing\u27s artwork demonstrates how powerful cultural tradition can be in contemporary art. Culture provides the audience with easily recognized symbols and creates restrictions on the interpretation of the art
Bing Xu- Biostatistician, PhD Avera Cancer Institute
No full textBing Xu is a biostatistician in the Department of Cancer Genomics at the Avera Cancer Institute. She completed her undergraduate education in Plant Science and Technology in Huazhong Agricultural University in China. She then moved to South Dakota, where she graduated with a doctoral degree in Biological Science and a master in Statistics from South Dakota State University. She has been working with clinical data for the past six years. Her interest is to “Let the data do the talking” through summarizing and analyzing real world data.https://openprairie.sdstate.edu/ds_symposium_2022_speakers-invite/1027/thumbnail.jp
The Round Table 03 圆桌: A Conversation with Xu Bing
No full textThe following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.</p
A Contemporary Spin on Tradition: Xu Bing\u27s Cultural Exploration
No full textThis paper analyzed the artwork of Xu Bing and his exploration of cultural values, specifically of language in China. Chinese is one of the oldest written languages of the world, with forms established by 1000CE. One of the purposes of classical Chinese calligraphy was self expression. The Cultural Revolution of the 1960s and ‗70s brought a shift to this tradition by using large characters as propaganda. Xu Bing uses prominent symbols of culture and language, stemming from the classical teaching of his parents and his work experience during the Cultural Revolution, to convey views of society, as well as to challenge them. In ―The Book from the Sky‖ he presents a confronting image of Chinese language in classical forms of scrolls and single sheets, which seems authentic but is in fact made with characters invented by the artist. The work shuns the idea of any meaning through reading and portrays the struggle of communication and keeping traditions alive. My paper argues that Xu Bing‘s artwork demonstrates how powerful cultural tradition can be in contemporary art. Culture provides the audience with easily recognized symbols and creates restrictions on the interpretation of the art
Ecriture universelle et utopie chez l'artiste Xu Bing
No full textInternational audienceLes oeuvres de l'artiste chinois Xu Bing, né en 1955, comportent une part d'anti-utopie avec son "Livre du ciel", installation comportant des livres inscrits de faux caractères chinois qui semble tourner en dérision les dogmes de la Révolution culturelle. Elles s'inscrivent aussi dans le projet utopique d'inventer une forme d'écriture universelle qui transcende les langues et les cultures. Mais les tendances récentes semblent témoigner d'une attitude moins rebelle et moins idéaliste
Lineacoelotes Xu, Li & Wang 2008
No full textGenus Lineacoelotes Xu, Li & Wang, 2008 Lineacoelotes Xu, Li & Wang, 2008: 4. Type species. Lineacoelotes longicephalus Xu, Li & Wang, 2008, from Sichuan Province. Diagnosis and description. Patellae of male palp (lateral view) with a strong seta that is located on a swollen and convex base. For more detail diagnosis and description, see Xu, Li & Wang, 2008. Comments. Lineacoelotes was originally described for five species: L. bicultratus (Chen, Zhao & Wang, 1991), L. funiushanensis (Hu, Wang & Wang, 1991), L. nitidus (Li & Zhang, 2002), L. longicephalus Xu, Li & Wang, 2008, and L. strenuus Xu, Li & Wang, 2008. Based on these data and the new species described below, the genus is distributed in central (Henan, Hubei), southwestern (Chongqing, Guizhou, Sichuan) China.Published as part of Li, Bing, Zhao, Zhe, Chen, Haifeng, Wu, Zhiyan & Li, Shuqiang, 2019, New species of the coelotine spider genus Lineacoelotes (Araneae: Agelenidae) from China, pp. 351-363 in Zootaxa 4623 (2) on page 352, DOI: 10.11646/zootaxa.4623.2.9, http://zenodo.org/record/325550
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