PLUM BLOSSOMS GALLERY

Following on after their acclaimed joint exhibition Going Forward, Going for the Money at Taipei’s MOCA Studio in the autumn of 2012, Jiang Shuo and Wu Shaoxiang have come back to Plum Blossoms Gallery to premiere their latest works in Camouflage- New Works by Wu Shaxiang and Jiang Shuo. Both artists have started down the path of change with Jiang Shuo introducing her new Chinese Cat series and Wu Shaoxiang introducing his new environmentally conscious paper sculptures. I am pleased to be able to showcase the new directions for these great sculptors.

Both Jiang and Wu have a body of work that now stretches back more than two decades. As inside and outside observers working from their studios in China and Austria, they have developed unique perspectives of contemporary life in China. The duality of immersion and distance from the Chinese economic “miracle” give them both an uncommon point of view on the development of the new Chinese society. They both have concerns about the future of China and their works in Camouflage address those concerns including the impact of environmental pollution, corruption and alienation.

I have had the pleasure of working with Wu Shaoxiang for twenty years and Jiang Shuo for ten years. It is always a pleasure to work with professionals. As always the sculptural works showcased in Camouflage are finely crafted and thought provoking. Both Wu and Jiang consistently create art that has the ability to engage their audience and over the time that I have presented their sculptures, the dialogue with clients about their work and their messages is always interesting. I appreciate the longevity of our working relationship and I am very happy for their success.

I want to thank Wu Shaoxiang and Jiang Shuo not only for creating this great new body of work but also for the cooperation in assembling the various parts that it takes to produce an exhibition such as Camouflage. I also want to that my staff at Plum Blossoms Gallery for their hard work in preparing the exhibition and catalogue. Monica Fu acted as Project Coordinator and Catalogue Designer. Astrid Lau was responsible for translations and editing. It is my pleasure to invite all our friends and clients to enjoy Camouflage – New Works from Wu Shaoxiang and Jiang Shuo.

Stephen McGuinnessHong KongMay, 2013

FOREWORD

繼2012年秋天，在台北當代藝術館展出廣受好評的《向錢進－吳少湘．蔣朔雙

個展》後，蔣朔和吳少湘回歸萬玉堂畫廊；並將在是次《迷彩 吳少湘及蔣朔新作展》中初次展示他們

的最新作品。兩位藝術家已分別開展了他們變革的旅程 - 蔣朔將介紹她全新的中國貓系列，而吳少湘

則帶來充滿環保意識的最新紙雕塑作品。我很高興能夠展出這兩位非凡雕塑家的創作發展新方向。

在超過二十年間，吳氏和蔣氏二人沒間斷地創作出許許多多的作品系列。而作為一對能夠在中

國和奧地利兩邊工作室進行創作的觀察者，他們開展了對中國當代生活的獨特看法。中國的經濟「奇

蹟」所帶來的沉淫和距離上的雙重性，啟發他倆以一個特別的觀點來看待新中國社會的發展。他們都

擔憂中國的未來，並透過作品來表達他們對環境污染、社會腐敗和異化等問題的關注。

我很高興能夠跟吳少湘和蔣朔一起分別工作了二十年和十年；跟專業人才工作往往是一件樂事。

在《迷彩》展出的雕塑作品，一如概往地細膩而引人入勝。吳氏和蔣氏一直堅持創作能夠讓觀眾融入

其中的藝術作品；在我代理他們作品的這段時間，亦覺現他們的藝術與客戶之間的交流和所表達的訊

息十分有趣。我非常感激我們之間長久以來的合作關係，尤其為他們的成功為之高興。

我特此感謝吳少湘和蔣朔創作這一系列偉大的新作，也感謝他們合作策劃與組織這次《迷彩》

展。另外，我感謝萬玉堂畫廊的工作人員在籌備展覽和編制畫冊的辛勤工作；傅詠彤擔任項目統籌和

設計。劉灝庭負責翻譯和編輯。我榮幸地邀請所有的朋友和客戶，一起來欣賞《迷彩 吳少湘和蔣朔新

作展》。

麥史鏑香港二零一三年五月

前言

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The world of contemporary Chinese sculpture, one of the most vibrant in Asia, has had many faces, having moved from grand social-realist forms to new figuration to cutting-edge abstraction with seemingly lightening speed. China’s sculptors have embraced every sculptural ism and ist imaginable during the past three decades in the search of something through which to speak to the country’s dynamic and innovative art culture. To achieve this, the best Chinese sculptors have not eschewed their own traditions and cultural icons to the exclusion of all else. They have shrewdly married national and international sculptural traditions, forms, materials, and aesthetics to make artworks that cannily address the myriad questions on the astonishing social and cultural development of post-Mao China and Deng Xiaoping’s engagement with the West and the rise of a market-oriented China that is virtually indistinguishable from that of the capitalist West.

To engage fully—artistically and intellectually—with the international art world many important artists needed to emigrate. Among those who moved to Europe, at the end of the 1980s, were Wu Shaoxiang and Jiang Shuo, two of the most engaging sculptors of the past two decades. Their art not only bridges Chinese and Western traditions, iconography, and aesthetics, but it does so with a deceptive ease and an astute sense of humor and irony, so much so that a number of their artworks have gradually achieved iconic status. This is surely needed if one is to be taken seriously in the critical and highly competitive 21st-century art world. Wu and Jiang indeed have their own singular aesthetics that speak with immediacy to a broad range of social, cultural, and artistic concerns. But as it enters the second decade of the 21st century, new brand-conscious China now demands its own iconic sculptural appearance, one at once recognizable wherever it be shown. This new vision requires that it be touched as much by China’s own traditional cultural heritage and struggles as by any single international one. Looking at Wu Shaoxiang’s and Jiang Shuo’s recent works that make up their current exhibition entitled Camouflage, as well as their individual oeuvres of the past two decades, one sees just how cleverly and insistently they have created that iconic look.

BEYOND SURFACE by Ian Findlay-Brown

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sculptors. Wu has achieved his art with a deceptive ease, one that draws the viewer quickly into his narratives.

Wu Shaoxiang’s narratives have developed steadily to become singular expressions of his time and his concerns with his societies’ predicaments, and how these have affected the individual. Since the 1990s, with the advent of his use of coins as one of his preferred sculptural materials, the texture of his art has become a major quality that not only gives a more memorable expression to his signs and symbols, from coins, banknotes, flags, the human figure, and Communist icons such as Mao and Deng, but also an aesthetic feature that reinforces the iconic nature of many of his artworks.

Wu’s figures that make up Camouflage do not have the rough and shiny texture of his Austrian schillings but that of used, crumpled paper money, American dollars. Where there was once a sense of the monumental and classical presence in many of Wu’s coin-based sculptures, his new works are slim, trimmed-down—almost emaciated figures—that clearly reference Alberto Giacometti’s own wasted figures who often projected a profound sense of emotional anguish that was visceral.

Money and capitalism and the power to distort reality and to oppress individuals and societies as well as the commodification of and speculation in art have been at the heart of many of Wu’s best works. However much one confronted the power of his ideas in his coin sculptures, it was often dissipated by a sense of distance, more objective than subjective. In his new, slim works such as the elegant Strolling in Paradise series (2012 – 2013) Wu is more subjective as he addresses the environment and the place of the solitary human figure within it. Using materials such as paper money—US dollars, paper, stainless steel, granite, and bronze Wu’s figures are occasionally embraced by a surreal world: for example, in Strolling in Paradise II and IV (both 2012) the figures are strolling in a world in which fish swim along with each stride. In Strolling in Paradise – Pear (2013) the striding figure, with a fish at its feet, are atop the stem of a pear. Like the figure on top the pear is also camouflaged, but not only with dollar bills, but also with such images as pictures of women taken from magazines and famous company logos like that of Coca

Even as their art is strikingly different from each other’s physically and aesthetically, there is both a quirky elegance and boldness that is seductive. This is as it should be as many of the questions that they address—from political and social uniformity to the corrupting influence of money and to the presumptive arrogance of power—in their distinctive art practices demand layered subtlety. Camouflage then—through cloth or paper currency, through distinctive patinas or shiny coin—is appropriate for their combined work for it suggests both concealment of identity and the blending into an environment in order to mislead, just as political rhetoric and money so often do at all levels of society.

Wu Shaoxiang has consistently looked critically at the politics of the cultures in which he has lived and worked, both Chinese and Austrian, which he adopted when he moved there in 1989. He has done this through the prism of modern sculptural practices and visual languages that reference artists as varied as Hans Arp, Marcel Duchamp, Henry Moore, Constantin Brancusi, Alberto Giacometti, and Barbara Hepworth. And he has made his critical narratives over the past two decades, almost didactically, as he has reflected on the power of capitalism and the new iconography of China’s historic leaders as subjects of art. The critic Gao Minglu has written that 20th-century political history, “provided artists rich narrative sources, especially for the Chinese artists. They combine the two narratives of the capital and the consciousness together and create even more paradoxical and dislocated narratives. Wu Shaoxiang’s work is a good example.” And Wu has used these narratives to great effect in all his oeuvre including his work in Camouflage.

Wu has spoken quite brilliantly to the past and the present, to ancient Chinese and Buddhist culture and Western capitalist power combining them into dramatic narratives through referencing and appropriating art styles as different as Pop art, classical Greek and Roman figuration, Chinese folk arts and crafts, socialist realism, conceptualism, and minimalism, as well as surrealism, which dominates his most recent artworks. From his earliest wood and mixed-media sculptures to his works in coins, marble and metal, all his works are underpinned by a rich modernist sculptural language that is unique among Chinese

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interpretation while entertaining the viewer. The juxtaposition of his precariously balanced figure and the lush pear amuses and is much like the delicate balance of the environment and the global commercialization of art: How will the game end? His Naked Phoenix I and II (both 2013) look at the fall of the capitalist phoenix in recession and terror of societal and business bankruptcy. What was once a powerful symbol of capitalism seemingly rising forever is now camouflaged by crumpled banknotes and trussed up like a chicken ready for the oven. One cannot suppress a wry smile for Wu has not lost that rascally sense of humor that informed so many of his finest coin sculptures.

Jiang Shuo, the wife of Wu Shaoxiang, is one of the few international female Chinese sculptors, working in either China or abroad. She has always had a wonderful sense of humor and it has played a vital role in the success of her sculptures, from her earliest iconic Red Guards to her most recent Lucky Kid series (2012) and Chinese Cat series (2013). Jiang’s various series of Cultural Revolution (1966 – 1976) Red Guard figures, which are eager, playful schoolchildren or ominous Chinese Zodiac-headed robots, spoke to a time of profound political and social unity as well as upheaval. Her protagonists cavorted and danced, marched and flew grasping Mao’s Little Red Book as their “security blanket,” their political Bible, the great symbol of conformity of the day. Their open mouths seemed to cry out in joy, in the almost hysterical pleasure of blind faith, the kind one sees at mass religious gatherings. But are their cries not also cries of pain as they are trapped as little marionettes in a game that they don’t and can’t understand? The rich greenish/blue patina of the uniforms and the dark bronze of their faces camouflage their individual identities, stifling individual expression.

While Wu Shaoxiang’s aesthetic and physical sculptural reality is driven by international considerations, Jiang’s is driven by an ideological imperative that has been, and remains, a rich source for her sculptural narrative. As Jiang Shuo has noted, “As the Cultural Revolution unfolded, whether consciously or not, we were manipulated as puppets. By using a more stylized child-like imagery to express this tragedy, it helps to provoke a more substantial reconsideration of the Revolution, in which energy

Cola. Not only are Wu’s protagonists camouflaged with paper, but his fruit’s identity is also given a makeover. Nothing is safe from the determined advance of capitalism.

Paper is a material to which viewers can easily relate. It is so common that we often take it for granted, even as we conveniently trumpet Green policies and philosophies and worry about the disappearing forests. That paper is everywhere moved Wu to develop works that speak to some of the most urgent questions of our time as well as to some of the practicalities of preparing for and making sculpture. His works, he says in his artist’s statement, are “based on my sympathetic consideration to environmental pollution and depletion of resources brought on by the economic development across Beijing and other places in China and Asia. I have been searching for alternative materials and operating methods that are more environmentally friendly, more energy efficient, require less processing equipment and are more convenient for me to use when I’m working in different studios around the world.

“My paper sculptures are the result of my findings. Paper has a long human history as a medium of communication, and has always had a very special status in China. Two-dimensional calligraphy and painting are the best known examples of traditional Chinese paper art. However, paper also has three- dimensional applications as seen in Chinese folk arts and crafts, like paper sculptures and paper toys. My paper sculptures are inspired by such Chinese paper art traditions, but I have incorporated more modern techniques and practices in the process. In my new sculptures, I have used paper such as highly textured paper bags, advertising flyers, magazines and banknotes. I first combine the paper materials by kneading them, and then I glue them together to form shapes until a solid texture appears, leaving a glimpse of modern culture and commercial art prints as a permanent reality record.”

While Wu Shaoxiang’s art is gently thought-provoking, it is not without a playful sense of humor, which also enhances the seriousness of his art. Humor is an important quality that cannot be readily dismissed. His pear in paradise, for example, becomes an advertising billboard of sorts, its camouflage open to wide

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While Jiang’s cats appear as fun beasts, there is a sadness about them that is perhaps a metaphor for the condition of the contemporary world. Life is full of choices yet the choices we make often camouflage our true selves. The silk and other fabrics that Jiang uses for her cats camouflages their true selves, much as we do in the way we dress and with the accessories that clutter many lives. We become what we wear and carry: we are camouflaged and concealed, which is a way of surving in a dangerous world.

As Jiang says, “The challenges brought by globalization, temptations of money and material wealth, robust development as a consequence of revolution and construction and the impact of the global economic crisis have made people become confused and perplexed. Unknowingly, people blindly follow the crowd while changing their real-selves and adapting to societal changes to stay in line with the trends of time.”

Wu Shaoxiang and Jiang Shuo have been astute observers and commentators on contemporary life for more than two decades. The works in Camouflage show us just how subtle the best of their art is and how accessible it is. What I have come to enjoy about Wu’s and Jiang’s art is the directness of their vision, the care they take in making their art, and the lack of pretension about it, even with the most complex pieces. It is certain that many more of their artworks will be iconic fixtures in the Chinese sculpture canon.

Copyright © Ian Findlay-Brown 2013

and spirit were wasted to realize absurd theories.” [Quoted in Dr. Hang Jian’s short 2005 essay entitled Monument to Absurdity.] Such manipulation continues even as China has turned to a more open economy, the movements may be different but puppetry lurks behind the brand-conscious culture.

Jiang Shuo’s recent works, which feature the overstuffed cats that she loves, retain their sense of humor, perhaps inspired by the spirit of toy making, folk art and craft. Her new works’ camouflage is also inspired by the craft of patchwork, in the form of small, colorful pieces of cloth with traditional Chinese motifs placed on her cats and some of her figures as in Lucky Kid.

Identity is touched by Jiang’s lovely sense of humor. Atop each of her cats, which appear to be about to fly, sits a small Buddha-like figure, arms crossed in mediation. Chinese Cat – Red (2013) is an especially strong work. The camouflaged figure on top and the bold red of the cat insinuate strength and energy. Lucky Kid (2012), camouflaged head to toe in a lively collage of colored clothes, harks back to some of Jiang’s early work in which a meditative stillness was central to the success and attraction of the piece.

Leaving the Red Guards behind her to move to her cats and kids finds Jiang in a lighter mood, one that is refreshingly lighthearted but, at the same time, serious in her intent. Here there is a willingness to take on a fresh perspective about the world and its affairs. As she says in her artist’s statement, “The transition from the Red Guards series to the Chinese Cat series is an attempt to portray the current situation and mass mentality of contemporary Chinese society from a fresh perspective. Chinese people have always considered cats as fortune mascots and symbols of wealth accumulation based on the ‘black-cat and white-cat’ theory. However, the cats in my Chinese Cat series are imaginary creatures. Their bodies are bloated like balloons, which are all filled up with material desire and ego. Their outer bodies are covered with collages of colorful silk and fabric, concealing their true selves. Unlike my previous Red Guards series, characters in the new Chinese Cat series have lost their self-direction. All that remains for them is a sense of helplessness from following the crowd blindly.”

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中國當代雕塑世界 - 是亞洲其中一

個最具活力，有著許多面向的板塊：以閃電般的速度從社會現實主義，演變到新具象主義；再發展至

新锐抽象主義。在過去三十年間，中國的雕塑家擁抱了每一個可以想像得到的藝術主義和形式，尋求

能夠表達有動力、創新的中國藝術文化。要做到這一點，一流的中國雕塑家並沒有排除一切地躲避自

身的傳統文化圖標。他們精明幹練地結合國內外的雕塑傳統、形式、材料和美學，坦率的交代中國後

毛澤東的發展路向，鄧小平跟西方的契约，以及在中國興起與西方資本主義無從區別的市場主導化之

後，惊人的社會和文化發展。

為了在藝術和知性上更充分投入地國際藝術世界，許多重要的藝術家需要移民。吳少湘和蔣朔就

是在八十年代末期搬往歐洲的其中兩位藝術家，亦是過去二十年來最為人注視的兩位。他們的藝術不

僅融合了中國和西方傳統、肖像研究和美學，更巧妙地達到了幽默諷刺的藝術效果，這驅使他們的一

些作品逐漸確立了標誌性的地位；而這肯定是在這個苛刻且競爭激烈的廿一世紀藝術界被受認同的必

要條件。的確，吳氏和蔣氏各持獨特的審美標準，分別直接述說著各種對社會，文化和藝術的關注。

在步入廿一世紀的雙十年頭，充斥著品牌意識的中國開始渴求一類外觀具備標誌性，且在任何地域都

能被辨認出的雕塑作品這個新視野除了需要包含國際的文化傳統和抗爭，持守中國本質亦同樣重要。

觀孚吳少湘和蔣朔將在《迷彩》展的近期作品，以及他們前作時，般能體會他們如何巧妙和持續地創

造這些標誌性的外觀。

即使他們的藝術在材質上和美感方面都顯著不同，他們的作品卻同時擁有一種誘人的奇特優雅和

勇氣。他們所探討的問題，不論是政治及社會的統一性、金錢腐敗的影響或是居高臨下的權力，都因

他們的風格獨特的藝術手法而令作品層次巧妙地增強。因此他們藉由布屑或紙幣，獨特的綠鏽或閃亮

的硬幣所創造的「迷彩」，恰如其分地透露了以隱藏身份與跟環境混和作為掩眼法，正如政治修辭和

金錢對社會各階層的做法一樣。

自從1989年遷往奧地利，吳少湘一直審慎地觀察中國和奧地利兩地的政治文化，兩片他曾生活和

工作的地方。要達到上述目的，他參考不同藝術家創作現代雕塑的手法和視覺語言的棱鏡，當中包括

超以象外 作者：伊恩 ．芬德利 - 布朗

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毛澤東和鄧小平等共產黨圖標，更成為他作品的

審美特徵，令人難忘。

吳氏的《迷彩》塑像，沒有奧地利先令的光

澤和粗糙質地；而是使用過的，皺巴巴的美元紙

幣。相比吳氏之前充滿紀念性和古典色彩的硬幣

雕塑，他的新作顯得更苗條、瘦削 - 幾近瘦弱的

塑像，就好像阿爾貝托．賈科梅蒂用來反映發自

內心的情感痛苦的肖像雕塑一樣。

金錢、資本主義、歪曲事實和欺壓個人和社

會的力量，以及在藝術的商品化和投機取向一直

是吳氏最優秀作品的核心。然而，人們在面對他

的硬幣雕塑帶來的強烈想法的當前，往往被一種

較客觀的距離感所隔開。在他纖細的新作品中，

例如優雅的天堂漫步系列（2012 - 2013年），吳

氏比從前更主觀地以人體形態來交代對環境的關

注。透過使用美元紙幣、不鏽鋼、花崗岩和青銅

作為材料，他的雕塑在偶爾擁抱了一個超現實的

世界：例如在天堂漫步 (二) 和 (四) （2012年）中

的塑像，漫步在一個每一步都有魚兒相陪游泳的

世界。在天堂漫步 - 梨（2013年）中的塑像正在

在梨子的莖上大步前進，而在其腳下有一條魚。

梨子跟上面的塑像一樣，都是利用美元紙幣偽裝

了，而且還採用了各種從雜誌上涉取的女性影像

及像可口可樂一類著名公司的標誌等為裝飾。作

為主角的塑像故然是遭受偽裝了；然而作為水果

的部分也被賦予身份改造。比喻在資本主義絕對

前提下，沒有什麼是安全的。

紙是一種容易連繫觀眾的素材。它的普遍

性，令我們在鼓吹綠色政策和理念、把擔憂森林

消失掛在嘴邊的同時，仍經常把它視作理所當

漢斯．阿爾普、杜尚，亨利．摩爾、康斯坦丁．

布朗庫西、賈科梅蒂和芭芭拉．赫普沃斯。在過

去的二十年裡，他以批判敘述的方式反思資本主

義的力量，也以中國歷史領導人的新標誌作為其

藝術主題。評論家高名潞寫道：「20世紀末的

政治歷史為當代藝術家提供了更為豐富的敘事資

源，特別是為中國藝術家。中國藝術家可以把資

本和意識形態兩種敘事攪和在一起，制造出更

加悖論的錯位敘事。兩種敘事可以彼此借用，你

中有我，我中有你。資本和意識形態可以互通有

無，最終殊途同歸。吳少湘的作品就是一個例

子。」吳氏在他所有作品（包括《迷彩》的新

作）中，都用了同樣的敘事方式來達到絕妙的效

果。

吳氏出色地藉他的作品與過去和現在、中

國古代和佛教文化、以及西方資本主義勢力進行

對話；透過參考包括波普藝術、古典希臘和羅馬

具象主義、中國民間藝術和手工藝、社會現實主

義、觀念主義、極簡主義以至超現實主義將之結

成戲劇式的敘述；並充斥在他近期的作品之中。

他的作品，由最早期的木和混合媒體雕塑，到硬

幣、大理石和金屬雕塑，全都帶有一種濃厚的中

國雕塑家獨有的現代雕塑語言。吳氏在他的藝術

中以故作輕鬆的形式，迅速地把觀眾引領至他的

敘述之中。

吳少湘的敘述穩步發展，成為他對時代體察

和社會困境的關注，以及其何以影響個人的單一

表達方式。自 90年代，他開始利用硬幣作為他雕

塑材料中的首選，其質地結構現已成為他雕塑作

品的主要原素；這不但賦予他所定下標誌和符號

更大的標誌性質 ，如硬幣、紙幣、旗幟、人物，

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後，沒人能夠為著他那沒有失去賴皮的幽默感而

抑制那苦笑。

蔣朔，吳少湘的妻子，是國際上少數同時於

國內外進行創作的中國女雕塑家。她一直以來都

持著一份獨特的幽默感，在其作品中發揮著重要

的角色：由蔣朔早期的紅衞兵系列，至她最新展

示的福娃系列（2012），中國花貓系列（2013

）都可見一斑。在蔣氏眾多中國文革的紅衛兵系

列中, 她刻劃了一個個熱切、嬉戲的學生，又或

是不祥的十二生肖頭像機械人，並訴說著一個深

刻的政治社會大團結的時代以及其動蕩。她的角

色騰躍、舞蹈、遊行，抓住紅當當的「毛語錄」

作為他們的「保護傘」、政治聖經，一個代表著

時代征控的偉大象徵。他們張開大口，在那種被

認為是大型宗教集會、近乎歇斯底里的盲目信仰

下，似乎就要釋出喜悅的歡呼聲。抑或那也可

能是他們作為小木偶，被困在一場無法理解比賽

中，所發出痛苦的呼喊聲？豐富的綠色/藍色銅鏽

制服和他們暗黑的青銅臉，偽裝了他們自己的個

人身份，窒息個人表達能力。

吳少湘雕塑的審美和物理現實受國際因素驅

動， 而蔣朔雕塑的豐富敘事來源則來自一直存在

的迫切思想。蔣朔說道：「我們曾在(文革)這齣

戲中，自覺或不自覺地被當作玩偶操縱，用天真

的戲劇化的兒童形象來表達這一悲劇性，更可引

起人們對那場為實現荒謬的理論而論證而耗費能

源和精力的文化大革命的反思」【引杭間博士於

2005年題為”荒謬”者的紀念碑的短文】儘管中

國的經濟已經變得更加開放，這種操縱仍舊，或

許變化不同，但玩偶戲依然潛藏在品牌意識文化

的背後。

然。因為紙無處不在，更啟發了吳氏去探討一些

於我們這個時代最迫切的問題，及以在準備和製

作雕塑過程中的一些實際情形。吳氏在藝術家自

述中說道：「基於北京和中國及亞洲各地因經濟

的發展而帶來的環境污染和對資源的掠奪性消

耗的體念，我一直在尋找一種更環保，能源消耗

小，使用加工設備少，並便於我在歐亞多地的工

作室和旅行時操作的材料和成型方式。」

「我的紙塑雕塑就是這一醞釀的結果。紙作

為人類藝術的傳達媒介歷史悠長，在中國就更有

特殊的地位。中國紙藝術的傳統最為人知的是平

面的書法與畫，但它也有在立體上的應用，如中

國民間的一些藝人用紙糊紙玩具。我的紙塑也受

到中國的這一傳統的影響，但運用了更多的當代

技術和手法。我是用紙塑造，選用強質地的紙包

裝袋，廣告單，畫報和鈔票，將它們揉合，粘塑

成形，使雕塑呈現出堅硬的質地，留有可窺見的

當代文化和商業印跡圖文，將現實已雕塑的形式

永久記錄下來。」

吳少湘的藝術發人深省，同時沒有失去其

俏皮的幽默感，更增強了他的藝術的重要性。幽

默是不能輕易刪減的重要原素。例如他的天堂漫

步 - 梨，偽裝化身成為廣告牌，在其偽裝娛樂觀

眾之餘，同時也啟發人們的思維。他把危險地平

衡的人物和茂盛的梨子放在一起，比喻環境及全

球藝術商業化的微妙平衡：該如何結束遊戲？他

的裸體鳳凰I 和II（2013）揭示資本主義鳳凰的墜

落，社會和經濟破產、衰退的恐怖。那曾看似是

永不沒落的資本主義的偉大象徵，現在被皺巴巴

的紙幣包裝，像被捆綁的烤雞一樣正等待被放進

烤爐。在看過吳少湘以前這麼多美好的硬幣雕塑

11

牠們身上卻漓漫著一種憂傷，也許這是一個對當

代世界的現況隱喻。生活充滿了抉擇，而我們

作出的選擇卻往往掩飾我們真正的自我。蔣朔運

用絲綢和其他布料為她的貓兒掩蓋了其真實的自

我，就像我們打扮和裝飾自己，導致生命變得亂

七八糟。我們所穿著、携帶的就成為了自己：我

們的偽裝和隱蔽，就成了一種在這危險世界生存

的方式。

蔣朔道：「全球一體化的進程帶來的挑戰，

金錢與物質的誘惑，繁華盛事的鶯歌燕舞和世界

金融風暴的無情衝擊，使人迷惑，讓人迷茫，叫

人不知不覺地隨波逐流，以改變自身來適應時代

和潮流的變化。」

吳少湘和蔣朔作為精明的當代觀察家和評

論家已經有超過20年的經驗。從《迷彩》中的

作品可見他們的作品是多麼精巧和容易被理解。

在吴、蔣二人的藝術中，我最欣賞他們直銳的視

野、對藝術製作過程那毫不矯飾的真摯用心，即

使在最為複雜的作品下都一樣。可以肯定的是，

他們將會有更多的作品成為在中國雕塑界的標誌

性準則。

版權所有©伊恩．芬德利 - 布朗2013

蔣朔的近期作品是她鍾愛的身體盈满的花

貓，一如以往保留著一股幽默感，靈感精神也

許來自民間工藝美術、玩具製作。錯落有致的手

藝，豐富多彩的布屑配搭傳統的中國圖案，啟發

她新作的《迷彩》形式，並將之放在她的花貓和

福娃塑像身上。

蔣朔利用其可愛的幽默感觸踫身份這個議

題。看似要飛起來的花貓的背上，坐著一個雙臂

交叉、正在冥想的小佛般的塑像。中國花貓-紅

（2013）是一個特別鮮明的作品；位置頂部那

迷彩式的小塑像和大膽的紅色貓影射出能量和精

力。而她的福娃（2012）塑像，一個個全身穿上

彩色的拼貼衣裳來偽裝身份；跟她以寂靜冥想為

中心的早期作品互相暉映，成為這個系列的成功

和吸引之處。

繼紅衛兵後，蔣朔以一個較為輕鬆的心態轉

移至她的花貓和孩子們的輕巧題材，令人耳目一

新，但意識仍舊深邃。她正意圖以一個全新的視

角去探究這個世界及其各種事務。她在藝術家自

述道：「我的作品從紅衛兵到中國花貓的轉換，

是試圖從另一個角度和層面表現當下中國人的心

態和中國社會的現狀中，因中國人視貓為招財的

吉祥物，而『白貓黑貓論』又使它成為當代中國

人致富的象微。我的中國花貓是一種虛幻的動

物，充氣球式的形體表現了膨脹物慾和自我，用

絲綢和民間花布拼貼 而成的花花綠綠、五彩繽紛

的外表，掩飾了它的真實本質，而不同於紅衛兵

系列的是，中國花貓中的人物已退居次位，失去

了駕馭能力，只有隨波逐流的無奈。」

雖然蔣朔的花貓以有趣的野獸的形態出現，

JIANG SHUO

14

CHINESE CAT by Jiang Shuo The word camouflage in modern military terminology refers to the use of multi-colored protective coloration on military clothing and equipment as a stratagem of concealment. It comes from the natural adaptations which allow animals to change the color of their outer covering at any time to blend in with their environment and remain unnoticed. Concealing-coloration in animals offers them a higher chance of survival in the jungle where the weak are prey to the strong.

The human society is no exception. The challenges brought by globalization, temptations of money and material wealth, robust developments as a consequence of revolution and construction and the impacts of the global economic crisis have made people become confused and perplexed. Unknowingly, people blindly follow the crowd while changing their real-self and adapting to societal changes to stay in line with the trend of times.

The transition from the Red Guards series to the Chinese Cat series is an attempt to portray the current situation and mass mentality of contemporary Chinese society from a fresh perspective. Chinese people have always considered cats as fortune mascots and symbols of wealth accumulation based on the “black cat and white cat” theory. However, the cats in my Chinese Cat series are imaginary creatures. Their bodies are bloated up like a balloon, which are all filled up with material desire and ego. Their outer bodies are covered with collages of colorful silk and folk fabric, concealing their true self. Unlike my previous Red Guards series, characters in the new Chinese Cat series have lost their self-direction. All that remains for them is a sense of helplessness from following the crowd blindly.

Just as some people enjoy flipping stocks, buying luxury cars or collecting antiques, my sculptural pieces serve as toys that I have created for my own enjoyment and for my audience to enjoy with the only difference being the content and dimension. Besides bringing sensory enjoyment to my audience, what matters to me the most is my works’ ability to raise awareness of social issues, in hopes that they won’t be puzzled by the camouflage effect.

2013

15

迷彩原本是現代軍事用語， 特指是用在軍服和裝備上

的偽裝色，用斑斕的色彩來作掩飾，達到讓人難以辦認其本來面目的目的，就像自然界裡的變色

動物，為了適應叢林裡弱肉強食的法則，可隨時隨地改變自身的顏色，從而使其生命得到保護和

繁演。

人類社會也不例外，全球一體化的進程帶來的挑戰，金錢與物質的誘惑，繁華盛事的鶯歌燕

舞和世界金融風暴的無情衝擊，使人迷惑，讓人迷茫，叫人不知不覺地隨波逐流，以改變自身來

適應時代和潮流的變化。

我的作品從紅衛兵到中國花貓的轉換，是試圖從另一個角度和層面表現當下中國人的心態

和中國社會的現狀，因中國人視貓為招財的吉祥物，而「白貓黑貓論」又使它成為當代中國人致

富的象微。我的中國花貓是一種虛幻的動物，充氣球式的形體表現了膨脹物慾和自我，用絲綢和

民間花布拼貼而成的花花綠綠、五彩繽紛的外表，掩飾了它的真實本質，而不同於紅衛兵系列的

是，中國花貓中的人物已退居次位，失去了駕馭能力，只有隨波逐流的無奈。

像有人玩股票，有人玩名車，有人玩古董，我的雕塑是做給自己和觀眾的玩具，不同的只是

內容和尺度而已，我更在意人們在把玩的時候，除了享受感觀的愉悅，還䏻引起一點對社會現狀

的關注，而不被迷彩式的絢麗效果所迷惑。

二零一三年

關於中國花貓 蔣朔

16

JIANG

中國花貓

紅

FK0268

2012 | FPR, silk & cotton | 106 x 57 x 35 cm

Chinese Cat - Red

18

JIANG

中國花貓

紅

FK0269

2013 | Bronze, silk & cotton | 106 x 57 x 35 cm

Chinese Cat - Red

20

JIANG

中國花貓

粉紅

FK0270

2013 | Bronze, silk & cotton | 106 x 57 x 35 cm

Chinese Cat - Pink

22

JIANG

福娃

男孩

FK0271

2012 | FRP, silk & cotton | 40 x 50 x 50 cm

Lucky Kid - Boy

24

JIANG

福娃

女孩

FK0272

2013 | FRP, silk & cotton | 40 x 50 x 50 cm

Lucky Kid - Girl

26

1958 Born in Beijing, China1978-82 Studied sculpture at the Central Academy of Arts & Design (now the Academy of Fine Arts, Tsinghua University), Beijing, China1982-85 Pursued postgraduate studies under Professor Zheng Ke at the Central Academy of Arts & Design, Beijing, China1987 Appointed as lecturer at the Central Academy of Arts & Design, Beijing, China1989 Moved to Austria, set up studio and joined the Austrian Artist Association1993 Acquired Austrian citizenship1997-98 Built new studio and gallery with Wu Shaoxiang in Klagenfurt, Austria2006 Set up studio in Beijing2012 Set up studio in Berlin, live and work between Beijing, Berlin and Austria

SOLO EXHIBITIONS2012 Going For Money, Joint exhibition with Wu Shaoxiang, Museum of Contemporary Art Taiwan 2011 Red Cat, Solo Exhibition, Plum Blossoms Gallery, Hong Kong2010 Image and Concept, Joint exhibition with Wu Shaoxiang, Museum of Contemporary Art, Singapore Sculpture from China, Joint exhibition with Wu Shaoxiang, Marsvinsholms Skulpturpark, Swden2009 Cloud Riders, Solo Exhibition, Plum Blossoms Gallery, Hong Kong Today’s Red Guards, Solo Exhibition. White8 Gallery, Vienna, Austria 2008 Image and Concept, Joint exhibition with Wu Shaoxiang, Indonesia National Museum, Jakarta, Indonesia Paradise Fruits, Joint exhibition with Wu Shaoxiang, Art Seasons Lake Zurich Gallery, Switzerland2007 Monument of Time, Solo Exhibition, Plum Blossoms Gallery, Hong Kong Image and Concept, Joint exhibition with Wu Shaoxiang, Song Zhuang Art Centre Beijing, China2006 Chase, Joint Exhibition with Wu Shaoxiang, Linda Gallery, Singapore and Jakarta, Indonesia New Age Cadres, Joint exhibition with Wu Shaoxiang, Plum Blossoms Gallery, NYC, USA2005 Red Guards Today, Solo Exhibition, Plum Blossoms Gallery, Hong Kong2004 Red Guards, Solo Exhibition, Plum Blossoms Gallery, Hong Kong2001 Sculpting, AAI Gallery, Vienna, Austria1999 Joint exhibition with Wu Shaoxiang, Gallery Dida, Graz, Austria1998 Solo Exhibition, City Hall, St. Veit, Austria1997 Solo Exhibition, Central Gallery, Graz, Austria1996 Joint Exhibition with Wu Shaoxiang, Gallery Dida, Graz, Austria1993 Solo Exhibition, Europe House, Klagenfurt, Austria1992 Joint Exhibition with Wu Shaoxiang, Gallery Nemenz, Judenberg, Austria1991 Joint Exhibition with Wu Shaoxiang, Gallery Akzent K, Stuttgart, Germany Joint Exhibition with Wu Shaoxiang, Raiffeisen Bank, Klagenfurt, Austria1985 Solo Exhibition, Central Academy of Arts & Design, Beijing, China

BIOGRAPHY of Jiang Shuo

27

SELECTED EXHIBITIONS2012 Across History II – Invitation of Chinese Contemporary Art Exhibition, G-Dot Art Space, Beijing ART Beijing, China National Agriculture Exhibition Centre, China, presented by Linda Gallery ART Taipei, Taipei International Convention Centre, Taiwan, presented by Linda Gallery 2011 ART HK, Hong Kong Convention and Exhibition Centre, presented by Plum Blossoms Gallery ART Beijing, China National Agriculture Exhibition Centre, China, presented by Linda Gallery ART Taipei, Taipei International Convention Centre, Taiwan, presented by Linda Gallery SH Contemporary, Shanghai Exhibition Centre, China, presented by Linda Gallery2010 China International Gallery Exposition, China World Trade Centre, Beijing, China, presented by Linda Gallery ART Beijing, China National Agriculture Exhibition Centre, China, presented by Linda Gallery Greating with Their Heart and Blood, 798 Linda Art Centre, Beijing, China ART HK, Hong Kong Convention and Exhibition Centre, presented by Plum Blossoms Gallery ART Singapore, SUNTEC Singapore, Singapore, presented by Linda Gallery SH Contemporary, Shanghai Exhibition Centre, China, presented by Linda Gallery ART Taipei, Taipei International Convention Centre, Taiwan, presented by Linda Gallery2009 East Meets West, White8 Gallery, Villach, Austria. ViennaFair, Messe Wien, Vienna, Austria, presented by White8 Gallery China International Gallery Exposition, China World Trade Centre, Beijing, China, presented by Linda Gallery ART Santa Fe, El Museo Cultural de Santa Fe, New Mexico, USA, presented by Plum Blossoms Gallery. ART Singapore, SUNTEC Singapore, Singapore, presented by Linda Gallery2008 Asian Contemporary Art Fair, Pier 92, New York, USA, presented by Linda Gallery ART Taipei, Taipei International Convention Centre, Taiwan, presented by Linda Gallery ART Beijing, China National Agriculture Exhibition Centre, China, presented by Linda Gallery ART Singapore, SUNTEC Singapore, Singapore, presented by Linda Gallery Art International Zurich, presented by Art Seasons Lake Zurich Gallery2007 AChina International Gallery Exposition, China World Trade Centre, Beijing, China, presented by Linda Gallery ART Singapore, SUNTEC Singapore, Singapore, presented by Linda Gallery New Age Cadres, Joint exhibition with Wu Shaoxiang, Plum Blossoms Gallery, Hong Kong2006 China International Gallery Exposition, China World Trade Centre, Beijing, China, presented by Linda Gallery ART Singapore, SUNTEC Singapore, Singapore, presented by Linda Gallery Group Exhibition, Second International Biennial of Contemporary Art in Austria, Hüttenberg Exhibition Centre, Austria2004 International Asian Art Fair, the Seventh Regiment Armory, New York, USA, presented by Plum Blossoms Gallery Group Exhibition, Plum Blossoms Gallery, Hong Kong2003 Group Exhibition, Plum Blossoms Gallery, Hong Kong International Asian Art Fair, the Seventh Regiment Armoury, New York, USA, presented by Plum Blossoms Gallery2002 Group Exhibition, First International Biennial of Contemporary Art in Austria, Hüttenberg Exhibition Centre, Austria2001 Joint exhibition with Wu Shaoxiang, Schloss Wolfsberg, Wolfsberg, Austria2000 Hundred Years of Chinese Art, China Guardian Auctions, Beijing, China 1999Salzburg Art Fair, Salzburg, Austria

28

1998 The International Contemporary Art Fair, Palace Degli Affari, Florence, Italy 1995 Group Exhibition, Mandarin Oriental Hotel, Hong Kong1994 Exhibition by the Austrian Art Association, City Gallery, Klagenfurt Austria1992 The Spirit of Times, Gallery Hinteregger, St. Pölten, Austria 1990 International Art Exhibition, Stadtgarten Gallery, Norden, Germany Group Exhibition, the International Art Centre, Velden, Austria 1988 China National Exhibition of Fine Arts, China National Museum of Fine Arts, Beijing, China1987 Today’s Fine Arts in China, Toronto Exhibition Hall, Canada Traditional and Modern Sculptures, China National Museum of Fine Arts, Beijing, China 1986 Photo Exhibition of Prize-winning Sculptures, China National Museum of Fine Arts, Beijing, China 1984 First National Urban Sculpture Exhibition, China National Museum of Fine Arts, Beijing, China1982 The Central Academy of Arts & Design Exhibition, China National Museum of Fine Arts, Beijing, China

SELECTED COMMISSIONS AND COLLECTIONS2010-12 Collectors around the World2009 Bauhinia Rider, MTR Corporation Limited, Hong Kong2007 Cat Rider, Hai Cheng Art Museum, China2006 Lion Rider, the Hong Kong Museum of Art Red Guards – Love, Red Guard – Relaxation, The Art Collection of Swiss Bank2005 Red Guards – Red Ocean, Red Guard – On the Sea of Business 2, Hong Kong Museum of Art2004 Red Guards- Going Forward! Making Money!, Langham Place Hotel, Hong Kong2000 Christ, St Margareten City, Austria1996 Ancient Vase, New World Development Company Limited, Hong Kong Enjoyable Life, collaboration with Wu Shaoxiang, County Attendant Centre, Moosburg, Austria1995 Sculpture for Kärntner Landes Versicherung, Austria1993 Designed trophies for the Evolution Club, Ferlach, Austria1992 Hand (Fountain), collaboration with Wu Shaoxiang, Köck Villa, Velden, Austria1991 Designed trophies for “Advertising Award 1991”, Antenne Austria, Austria1989 Designed award trophies for The Chinese Film Festival, Beijing, China Fisherman, Mi Yun Power Supply Bureau, Beijing, China1988 Designed trophies for “Top Ten Outstanding Entrepreneurs in China”1987 Summer was named as one of the best city sculptures in China Spirit of the Drunken City, 10-Meters high, Qiaotou Square, Luzhou, China1984 Designed Film Award trophies for Ministry of Culture, People’s Republic of China Summer, Binghe Garden, Beijing, China The Sea of Knowledge, The Central University of Finance and Economics, Beijing, China1983 Designed Film Award trophies for Ministry of Culture, People’s Republic of China1982 Designed Film Award trophies for Ministry of Culture, People’s Republic of China

29

MAJOR PUBLICATIONS2012 Going for Money, Museum of Contemporary Art Taiwan2011 Red Cat, Plum Blossoms Gallery, Hong Kong2010 Jiang Shuo & Wu Shaoxiang, MOCA Singapore2009 Cloud Riders, Plum Blossoms Gallery, Hong Kong2008 Jiang Shuo and Wu Shaoxiang, Indonesia National Museum and Linda Gallery, Jakarta, Indonesia Fruits of Paradise, Art Seasons Lake Zurich Gallery, Switzerland2007 The Monument of Time, Plum Blossoms Gallery, Hong Kong Image and Concept, Song Zhuang Art Centre Beijing, China2006 Chase, Linda Gallery, Singapore and Indonesia2005 Red Guards Today, Plum Blossoms Gallery, Hong Kong and New York, USA2003 Red Guards, Plum Blossoms Gallery, Hong Kong and New York, USA2000 Jiang Shuo Sculpture, People’s Fine Arts Publishing House, Beijing, China1991 Selected Works by Jiang Shuo, Bauer Publishing House, Austria1989 Sculpture, People’s Liberation Army Publishing House, Beijing, China1987 Sculpting Skills, People’s Fine Arts Publishing House, Beijing, China

WU SHAOXIANG

32

Regarding my recent paper sculptures by Wu Shaoxiang My latest creations were inspired by my experiences while I was constantly working and travelling back and forth between Asia and Europe over the past few years.

Based on my sympathetic consideration to the environmental pollution and resources depletion brought by the economic development across Beijing and other places in China and Asia, I have always been searching for alternative materials and operating methods that are more environmentally friendly, more energy efficient, require less processing equipment and are more convenient for me to use when I’m working in different studios around the world. My paper sculptures were the result of my findings.

Mass-produced and designer art has become commonplace in the current contemporary art era. I dislike it because this is not only against the essence of artistic creation, but also damages the environment from the resources they waste, the same way how capitalism exploit workers. I think formative arts should be an artist’s personal creations that show great originality. I enjoy the pleasant sensation I get when I’m making art by hand. I can feel the close relationship between artistic form, innovative concepts and hands-on production. In all my past experience making sculptures with materials like wood, stone, coins and bronze, breakthroughs in concepts and form is only achieved after I’ve started working with my hands. This was also the same when I was making my new paper sculptures, where I only realized their unique sense of beauty and visual language after finishing the unique molding process by hand.

Paper has a long human art history as a medium of communication, and has always had a very special status in China. Two-dimensional calligraphy and painting are the best known examples of traditional Chinese paper art. However, paper also has three-dimensional applications as seen in Chinese folk arts and crafts like paper sculptures and paper toys. My paper sculptures were also inspired by such Chinese paper art traditions, but I have incorporated more modern technique and practices in the process. In my new sculptures, I have used paper such as highly-textured paper bags, advertising flyers, magazines and banknotes. I first combined the paper materials by kneading them, and then I glued them together and formed shapes until a sold texture appears, leaving a glimpse of modern culture and commercial art prints as a permanent reality record.

2013

33

我的新作—紙塑，是我經過這幾年連續地在歐洲和亞洲的往返旅行生活和工作經歷而醞釀出來的變革。基於北京和中國及亞洲各地因經濟的發展而帶來的環境污染和對資源的掠奪性消耗的體念，我一直在尋找一種更環保，能源消耗小，使用加工設備少，並便於我在歐亞多地的工作室和旅行時操作的材料和成型方式。我的紙塑雕塑就是這一醞釀的結果。

我不喜歡當代藝術界流行的大生產，大批量的設計師式的創作方式，它不光是脫離了藝術創作的某些本質，還是對環境的破壞和對資源的浪費，還帶有像資本家那樣的對工人剝削的一面。我認為造型藝術作品應該是藝術家的個人創造並帶有藝術家個人的手跡。我喜歡藝術創作時的動手製作的快感。我感到藝術形式和觀念的創新和動手實踐有必不可少的關係，我從打木雕，石雕，焊錢幣雕塑和青銅雕塑經歷，每一次在觀念和形式上的突破都是在動手製作後才形成。這次的紙塑也是一樣，我是在動手製作後，才發現它的特殊塑造形式能產生的特殊美感和語言。

紙作為人類藝術的傳達媒介歷史悠長，在中國就更有特殊的地位。中國紙藝術的傳統最為人知的是平面的書法與畫，但它也有在立體上的應用，如中國民間的一些藝人用紙糊紙玩具。我的紙塑也受到中國的這一傳統的影響，但運用了更多的當代技術和手法。我是用紙塑造，選用強質地的紙包裝袋，廣告單，畫報和鈔票，將它們揉合，粘塑成形，使雕塑呈現出堅硬的質地，留有可窺見的當代文化和商業印跡圖文，將現實已雕塑的形式永久記錄下來。

二零一三年

關於我的紙塑 吳少湘

34

WU

裸體鳳凰

(一)

CR0211

Naked Phoenix I

2013 | US Dollar note, paper, FRP & granite | 31x 19 x 18 cm

36

WU

裸體鳳凰

(二)

CR0212

2013 | RMP note, paper, FRP & granite | 31x 19 x 18 cm

Naked Phoenix II

38

WU

迷彩人物

CR0213

2013 | US Dollar note, paper & brass | 31 x 18 x 18 cm

Camouflage Figure

40

WU

天堂漫步

梨

CR0214

2013 | US dollar note, paper & stainless steel | 125 x 57 x 51 cm

Strolling in Paradise - Pear

42

WU

天堂漫步

(一)

CR0215

2012 | US dollar note, paper & stainless steel | 61 x 36 x 36 cm

Strolling in Paradise I

44

WU

天堂漫步

(二)

CR0216

2012 | US dollar note, paper & stainless steel | 57 x 36 x 36 cm

Strolling in Paradise II

46

WU

天堂漫步

(三)

Strolling in Paradise III

2012 | US dollar note, paper & stainless steel | 56 x 40 x 36 cm

CR0217

48

WU

天堂漫步

(四)

2013 | US dollar note, paper & stainless steel | 56 x 40 x 36 cm

Strolling in Paradise IV

CR0218

50

WU

人物

CR0219

2012 | US dollar note, paper & stainless steel | 41 x 21 x 17 cm

Figure

52

WU

孤島

CR0220

2011 | Mixed media on canvas | 155 x 120 cm

Island

54

WU迷彩 男人

CR0221

2013 | US dollar note, paper & FRP | 95 x 20 x 20cm

Camouflage - Man

CR0222

2013 | US dollar note, paper & FRP | 94.5 x 20 x 20 cm

Camouflage - Woman

CR0223

2013 | US dollar note, paper & FRP | 95 x 20 x 20 cm

Camouflage - Pregnant Woman

[ From Left to Right ]

迷彩 女人

迷彩 懷孕女人

56

1957 Born in Jiangxi Province, China.1969-78 Was deprived of schooling and sent to work as farmer, brick-layer and rafter.1978-82 Studied sculpture at the Jingdezhen Ceramics Institute China.1984-86 Pursued postgraduate studies under Professor Zheng Ke, The Central Academy of Arts and Design, Beijing, China. As a key figure in Beijing’s “New Wave Art” movement. Awarded the first Beijing Art and Design Scholarship.1987 Elected by Fine Art of China, at the time most important magazine of modern art in China, as one of the ten most influential Chinese Avant-garde Artists. Acquired the master of arts, lectured at the Central Academy of Arts & Design, Beijing, China.1988 Personal Sculpture exhibition at National Art Museum of China, Beijing. Placed first sculpture in Europe (the first modern Chinese sculpture to be placed in a public space in Europe).1989 Participated the “Avant-Garde China” exhibition. Moved to Austria after the “June 4” liberty revolution.1991-93 Produced his first sculpture “Apple” made entirely of coins, which is the first and biggest coin sculpture in the world. (Recorded at the Guinness Book Records 1995). Exhibited in Austria, Germany, Switzerland and Italy. 1994-96 Returned to Asia where he held several exhibitions in the leading galleries in Hong Kong, Taipei, Singapore, and gained commissions for new works in both Asia and Europe. Gave lectures in Hong Kong Museum of Art.1997-2002 After the cancer treatment he began to plan and build his new studio with Jiang Shuo in South Austria, and to write the novel “The Shadow of the Sun”. Published the book in Vienna by Seifert Publish House. Personal exhibition in New York in Plum Blossoms Gallery.2002-03 His writings and works published in Chinas Art magazines again, and his works have been used for China’s high school class books. 2006-12 Set up a studio in Beijing with Jiang Shuo and exhibited in Art Museums in China and around Asia. Published “Art of Sculpture” by China Fine Art Publising House, which becomes the teaching book for all Chinese universities. Visiting Professor in Shanghai Visual Art Academy of Fu Dan University. 2013 Lives and works in Beijing, China, Klagenfurt, Austria and Berlin, Germany.

SOLO EXHIBITIONS2012 Going Forward! Going For Money! Museum of Contemporary Art, Taipei2011 This Land So Rich In Beauty, Plum Blossoms Gallery, Hong Kong Sculpture from China, Marsvisholms Sculpturpark, Sweden2010 New Age Cadre, White Gallery, Vienna, Austria Going Forward! Going For Money! Museum of Contemporary Art, Singarpore Let’s Talk about Money, Z-Art Centre, Shanghai2009 Tao Hua Yuan, 798 Shui Mu Contemporary Art Space, Beijing2008 Walking Wealth, Plum Blossoms Gallery, Hong Kong Paradise Fruits, Art Seasons, Zurich, Switzerland Image and Concept, National Museum of Indonesia, Jakarta 2007 Image and Concept, Songzhuang Art Centre, Beijing Image and Concept, Linda Art Centre, 798, Beijing2005 New Age Cadre, Plum Blossoms Gallery, New York2006 New Age Cadre, Plum Blossoms Gallery, New York Chase! Linda Gallery, Singapore, Jakarta, Indonesia2004 Words and Images- Recent sculptures and Paintings by Wu Shaoxiang, Plum Blossoms Gallery, Hong Kong2003 Sculptures and Paintings, Schloss Gabelhofen, Fohnsdorf, Austria2001 Coining, AAI Gallery, Vienna, Austria

of Wu ShaoxiangBIOGRAPHY

57

Coining MoMA, Plum Blossoms Gallery, New York, USA Wu Shaoxiang and Jiang Shuo, Schloss Wolfsberg, Wolfsberg, Austria 2000 Wu Shaoxiang -Sculptures and Paintings, Gallery Synarte, Klagenfurt, Austria1999 Wu Shaoxiang, Gallery Dida, Graz, Austria Red Memory, Plum Blossoms Gallery, Hong Kong Sculptures and Paintings, Salzburg Art Fair, Salzburg, Austria1998 Wu Shaoxiang, Gallery Daghofer, Leoben, Austria Blander and Wu Shaoxiang, Funda Gallery, St.Veit/GL, Austria1997 Wu Shaoxiang and Jiang Shuo, Gallery Zentrum, Graz, Austria Wu Shaoxiang and Jiang Shuo, Shellanda Company, Klagenfurt, Austria1996 Sculptor, The Rotunda, Exchange Square, Hong Kong Wu Shaoxiang-New Works, Gallery Kolly, Graz, Austria1995 The Art of Coining, Hanart Gallery, Taipei, Taiwan1994 Recent Sculptures, Plum Blossoms Gallery, Hong Kong1993 Sculptures and Paintings, Gallery Zentrum, Graz, Austria Sculptures and Paintings, Europe House, Klagenfurt, Austria1992 Sculptures and Paintings, Gallery Nemenz, Judenberg, Austria1991 Sculptures and Paintings, Gallery Akzent K, Stuttgart, Germany Sculptures, Gallery d’ Art Teroema, Florence, Italy Apple, Messe Palast, Vienna, Austria Sculptures and Paintings, Gallery Burg Montendorf, Salzburg, Austria Sculptures and Paintings, Raiffeisen Gallery, Klagenfurt, Austria1990 Sculptures and Paintings, City Hall Gallery, Klagenfurt, Austria1988 Dream, China National Art Gallery, Beijing, China1987 Sculptures, Central Academy of Arts and Design, Beijing, China1985 Two and Three Dimension, joined by Chen Xiaoyu, Central Academy of Fine Arts, Beijing, China

SELECTED EXHIBITIONS2012 Art Beijing, Agriculture Exhibition centre, Beijing, presented by Linda Gallery, Beijing Art Taipei, Taiwan, presented by Linda Gallery Art Landing Singapore, presented by Linda Gallery, Singapore2011 Start from the Horizon – Chinese contemporary Sculpture since 1978, Si Shang Art museum, Art Beijing, Agriculture Exhibition Centre, Beijing, presented by Linda Gallery, Beijing Art HK, Convention and Exhibition Centre, Hong Kong, presented by Plum Blossoms Gallery Across History II, G-Dot Art Space , Beijing, China Shanghai Contemporary, Shanghai Exhibition Hall, Shanghai, presented by Linda Gallery, Beijing2010 International Gallery Fair, Word trade Centre, Beijing, presented by Linda Gallery Art Beijing, Agriculture Exhibition Centre, Beijing, presented by Linda Gallery, Beijing Creating with Their Heart and Blood, Linda Art Centre, 798, Beijing Art HK, Convention and Exhibition Centre, Hong Kong, presented by Plum Blossoms Gallery Singapore Art Fair, Presented by Linda Gallery, Singapore Shanghai Contemporary, Shanghai Exhibition Hall, Shanghai, presented by Linda Gallery, Beijing Art Taipei, Taiwan, Presented by Linda Gallery2009 International Gallery Fair, Word trade Centre, Beijing, China Vienna Art Fair, Messe Wien, Vienna, Austria, Presented by White 8 Gallery

1957 Born in Jiangxi Province, China.1969-78 Was deprived of schooling and sent to work as farmer, brick-layer and rafter.1978-82 Studied sculpture at the Jingdezhen Ceramics Institute China.1984-86 Pursued postgraduate studies under Professor Zheng Ke, The Central Academy of Arts and Design, Beijing, China. As a key figure in Beijing’s “New Wave Art” movement. Awarded the first Beijing Art and Design Scholarship.1987 Elected by Fine Art of China, at the time most important magazine of modern art in China, as one of the ten most influential Chinese Avant-garde Artists. Acquired the master of arts, lectured at the Central Academy of Arts & Design, Beijing, China.1988 Personal Sculpture exhibition at National Art Museum of China, Beijing. Placed first sculpture in Europe (the first modern Chinese sculpture to be placed in a public space in Europe).1989 Participated the “Avant-Garde China” exhibition. Moved to Austria after the “June 4” liberty revolution.1991-93 Produced his first sculpture “Apple” made entirely of coins, which is the first and biggest coin sculpture in the world. (Recorded at the Guinness Book Records 1995). Exhibited in Austria, Germany, Switzerland and Italy. 1994-96 Returned to Asia where he held several exhibitions in the leading galleries in Hong Kong, Taipei, Singapore, and gained commissions for new works in both Asia and Europe. Gave lectures in Hong Kong Museum of Art.1997-2002 After the cancer treatment he began to plan and build his new studio with Jiang Shuo in South Austria, and to write the novel “The Shadow of the Sun”. Published the book in Vienna by Seifert Publish House. Personal exhibition in New York in Plum Blossoms Gallery.2002-03 His writings and works published in Chinas Art magazines again, and his works have been used for China’s high school class books. 2006-12 Set up a studio in Beijing with Jiang Shuo and exhibited in Art Museums in China and around Asia. Published “Art of Sculpture” by China Fine Art Publising House, which becomes the teaching book for all Chinese universities. Visiting Professor in Shanghai Visual Art Academy of Fu Dan University. 2013 Lives and works in Beijing, China, Klagenfurt, Austria and Berlin, Germany.

SOLO EXHIBITIONS2012 Going Forward! Going For Money! Museum of Contemporary Art, Taipei2011 This Land So Rich In Beauty, Plum Blossoms Gallery, Hong Kong Sculpture from China, Marsvisholms Sculpturpark, Sweden2010 New Age Cadre, White Gallery, Vienna, Austria Going Forward! Going For Money! Museum of Contemporary Art, Singarpore Let’s Talk about Money, Z-Art Centre, Shanghai2009 Tao Hua Yuan, 798 Shui Mu Contemporary Art Space, Beijing2008 Walking Wealth, Plum Blossoms Gallery, Hong Kong Paradise Fruits, Art Seasons, Zurich, Switzerland Image and Concept, National Museum of Indonesia, Jakarta 2007 Image and Concept, Songzhuang Art Centre, Beijing Image and Concept, Linda Art Centre, 798, Beijing2005 New Age Cadre, Plum Blossoms Gallery, New York2006 New Age Cadre, Plum Blossoms Gallery, New York Chase! Linda Gallery, Singapore, Jakarta, Indonesia2004 Words and Images- Recent sculptures and Paintings by Wu Shaoxiang, Plum Blossoms Gallery, Hong Kong2003 Sculptures and Paintings, Schloss Gabelhofen, Fohnsdorf, Austria2001 Coining, AAI Gallery, Vienna, Austria

58

Art Santa Fe, Ei Museo Culture, Santa Fe, USA, presented by Plum Blossoms Gallery Singapore Art Fair, presented by Linda Gallery, Singapore East Meet West, White 8 gallery, Villach, Austria2008 Singapore Art Fair, presented by Linda Gallery, Singapore Art Beijing, Agriculture Exhibition centre, Beijing, presented by Linda Gallery, Beijing2007 Art Beijing, Agriculture Exhibition centre, Beijing, presented by Linda Gallery, Beijing Singapore Art Fair, presented by Linda Gallery, Singapore International Gallery Fair, Word trade Centre, Beijing, China2006 Singapore Art Fair, presented by Linda Gallery, Singapore Art Beijing, Agriculture Exhibition centre, Beijing, presented by Linda Gallery, Beijing Hong Kong Art Fair, presented by Plum Blossoms Gallery, Hong Kong Pop Corner, Plum Blossoms Gallery, Hong Kong2005 International Biennial of Contemporary Art Austria, Huttenberg Exhibition Centre, Austria2004 Singapore Art Fair, presented by Linda Gallery, Singapore Food for Thought, Islip Art Museum, New York The International Asian Art Fair, The Armoury, New York, USA Corporate Corporeality, Plum Blossoms Gallery, New York, USA Hong Kong Art Fair, Hong Kong International Biennial of Contemporary Art Austria, Huttenberg Exhibition Centre, Austria2003 The International Asian Art Fair, The Armoury, New York, USA, presented by Plum Blossoms Gallery Sculptures, Elizabeth Weiner Fine Art Gallery, Santa Monica, California, USA2002 The International Asian Art Fair, Lincoln Art Centre, New York, USA,presented by Plum Blossoms Gallery Configurations, Plum Blossoms Gallery, New York, Hong Kong International Biennial of Contemporary Art Austria, Hüttenberg, Austria2001 The International Asian Art Fair, The Armoury, New York, USA, presented by Plum Blossoms Gallery The International Pavilion of Palm Beach, Art Palm Beach, Florida, USA Salon de Mars, Geneva, Switzerland Chinese Figure, Hanart gallery, Hong Kong2000 The International Asian Art Fair, The Armoury, New York, USA,presented by Plum Blossoms Gallery The 20th Century Art, The Armoury, New York, USA, presented by Plum Blossoms Gallery Goedhuis Contemporary, London, United Kingdom1999 The International Contemporary Art Fair, Los Angeles, USA, presented by Plum Blossoms Gallery1998 The International Contemporary Art Fair, Palace Degli Affari, Florence, Italy Contemporary Austrian Painter, The Rotunda, Exchange Square, Hong Kong1997 The International Asian Art Fair, The Armoury, New York, USA, presented by Plum Blossoms Gallery Contemporary Austrian Painter, The Rotunda, Exchange Square, Hong Kong1996 Table for Two, LKF Gallery, presented by Hanart Gallery, Hong Kong The Collector’s View, Hanart Gallery, Hong Kong1995 Art Asia, Hong Kong Convention and Exhibition Centre, presented by Plum Blossoms Gallery, Hong Kong Budapest Art Expo, presented by Gallery Zentrum, Budapest, Hungary1994 New Trends Art Hong Kong, Hong Kong Convention and Exhibition Centre, presented by Plum Blossoms Gallery, Hong Kong Tresors Singapore, World Trade Centre, presented by Plum Blossoms Gallery, Singapore. Art Asia, Hong Kong Convention and Exhibition Centre, presented by Plum Blossoms Gallery, Hong Kong1993 The Spirit of Times, Gallery Hinteregger, St. Polten, Austria

59

1991 Joint exhibition with Jiang Shuo, Culture House, Knittelfeld, Austria1990 Joint exhibition with Svetnik, Velden Art Centre, Velden, Austria Packaged Art, Bündner Art Museum, Chur, Switzerland International Art Exhibition, Stadgarden Gallery, Norden, Germany1989 Avant-garde China, China National Art Gallery, Beijing, China New Expressionism in China, China National History Museum, Beijing, China1988 30 Years The Central Academy of Arts & Design, Central Academy of Arts and Design, Beijing, China1987 Works by Young Beijing Artist, China National Art Gallery, Beijing, China Contemporary Chinese Fine Art, Toronto Exhibition Hall, Toronto, Canada Excellent Chinese Urban Sculptures, China National Art Gallery, Beijing, China Tradition and Modern - New Sculptures, China National Art Gallery, Beijing, China1986 National Sculpture Exhibition, China National Art Gallery, Beijing, China New Works from Jingdezhen Ceramics Institute, Jingdezhen 1982 Ceramics Museum, Jingdezhen, China1981 Jiang Xi Province Art Exhibition, Jiang Xi Revolution Museum, Nanchang, China. National Art Academy´s Drawing Exhibition, China Art Academy, Hangzhou, China

SELECTED COMMISSIONS AND COLLECTIONS2012 Li Hong Zhang, Hong Kong Maritime Museum Proud Wealth, Lanham Place Hotel Shanghai, China2011 Symbol of Love – Heart, Singapore Art museum2010 Walking Wealth, Crown Melbourne, Melbourne, Australia2008 Walking Wealth - Man, The Art of City Collection, Crown Towers, City of Dreams, Macau Shoe, Outcry 7 and Lock, Min Sheng Modern Art Museum , Beijing, China2006 Goddess, The Ritz- Carlton, Berlin, Germany Torso, Map of China, Dr. W.Wu Art Museum, Singapore2005 Treasure from the Louvre – Nike, Bel-Air Fine Arts Club, Hong Kong Symmetry, Kampinsky Hotel Adriatic, Umag, Croatia2004 The Great Venus in the 20th Century 2, Madonna’s Skirt 2, COINING MoMa – Moore, Treasure from the Louvre – Torso, Egg (Full), Bel-Air Fine Arts Club, Hong Kong2003 Head From British Museum, Bowl, Torso, Cyberport Art Club, Hong Kong Family III (fountain), Singulus, Umag, Croatia Coining MoMA- Brancusi, Tree, H.M.Z. Foundation, Fohnsdorf, Austria2002 Harmonious (fountain), Ebental District Government, Ebental, Austria Harmonious (fountain), Wolkensberg Foundation, Klagenfurt, Austria Torso From Louvre, RBB Bank Spittal, Spittal an der Drau, Austria Clouds VI, Celebrity Cruises, Miami, USA2001 Deng Xiaoping Souvenir Badge, Wadsworth Collection, New York, USA Patrick, Schloss Pakein, Grafenstein, Austria Circulate, Volksbank Karnten Sud, Klagenfurt, Austria Pomegrante, Barmherzigen Bruder Hospital, St. Veit, Austria2000 Fountain, Villa Ried, St.Veit, Austria1999 Mao, Venus From British Museum, Crow Art Museum, Dallas, USA

60

Head From Gugenheim, Karnten State Government, Austria Man On Peach, Hypo Landesbank, Klagenfurt, Austria1998 Goddess, Leoben City Government, Leoben, Austria Venus, RBB Bank, Klagenfurt, Austria Cloud, Villa Borovnik, Ferlach, Austria Goddess, Beijing Silver Tower, Beijing, China1997 The Moon, LKH 2000 Sculpture Park, Karnten State Government, Klagenfurt, Austria Gentle Breath, Björn Borg Collection, Stockholm, Sweden Coin, Control Bank, Vienna, Austria Venus, RBB Bank, Klagenfurt, Austria Sepe, State Icehockey Hall, Klagenfurt, Austria1996 Family (fountain), Starmann Company, Klagenfurt, Austria Enjoyable (fountain), County Attendant Centre, County Government, Moosburg, Austria Torso, Schwarzneger Art collection, Los Angeles, USA1995 The Great Venus of 20th Century, New World Centre, Kowloon,Hong Kong The Moon, Renaissance Harbour View Hotel, Hong Kong Winged Source (fountain), Ford Sintsching, Klagenfurt, Austria Banana, Hanart Gallery, Hong Kong Gentle Breath, New World Hotel, Shenzhen, China1994 The Seed of Jade, RBB Bank, Klagenfurt, Austria The Great Venus of 20th Century, Wing on Art Collection St. Paul, De Veuce, France Head, Klagenfurt City Gallery, Klagenfurt, Austria1993 Inner Movement, DAF Aichwalder, Klagenfurt, Austria Flutist, House Hinteregger, St, Pölten, Austria Turning Figure, City Government, St.Veit/Glan, Austria Window, Raiffeisen Lands Bank, Klagenfurt, Austria1992 Apple, National Bank, Vienna, Austria. Hand (Fountain), Köck Villa, Velden, Austria. Telephon, Gallery Akzent K, Stuttgart, Germany.1991 Sitting Girl, Treibach Sport Centre, Treibach, Austria. Heavenly Dog, Hardy Collection Museum, Pörtschach, Austria. Turning Figure, Karnten State Culture Council, Klagenfurt, Austria.1990 Gentle Breath, Austrian National Bank, Vienna, Austria. Dancing Spirit, Stroh Centre, Klagenfurt, Austria.1989 Family (fountain), local government, St Veit/Glan, Austria.1988 Victory, The Revolution Monument, Shijiazhuang City, Shijiazhuang, China. City Symbol Sculpture, Luzhu City, China. Meditation, Europe Sculpture Park, Klagenfurt, Austria.1987 The Four Feelings, China Association of letters and Arts, Beijing, China. The See of Knowledge, Central University of Finance, Beijing, China. Masks, Beijing International Hotel, Beijing, China. Bath, The Central Academy of Arts and Design. Beijing, China.1986 Spring, Bin River Park, Beijing City Government, Beijing, China.

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This catalogue is published to accompany an exhibition presented at Plum Blossoms Gallery, Hong Kong which ran from May 21 - June 6, 2013

PLUM BLOSSOMS (INT’L) LTD

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Tel | (852) 2521 - 2189

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Email | info@plumblossoms.com

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PUBLISHING COORDINATION | Monica Fu

TRANSLATION & EDITING | Astrid Lau & Monica Fu

DESIGN | Monica Fu

FOREWORD © Stephen McGuinness

ESSAY © Ian Findlay-Brown

ARTIST’S STATEMENT © Jiang Shao & Wu Shaoxiang

SCULPTURES © Jiang Shao & Wu Shaoxiang

CATALOGUE © Plum Blossoms (International) Limited

ISBN 978 - 988 - 198279 - 8 - 8

Printed by Lammar Offset Printing Ltd.

CREDITS