Edited by Karen Chen, Jannie Haagemann, Tiffany Hu, Shu-Wen Lin, Janna Lund, Kelly Ma, Chinyan Wong. Foreword by Luise & Jens Faurschou. Text by Jannie Haagemann, Karen Smith, Hans Ulrich Obrist, Cai Guo-Qiang.
Hbk, 8.5 x 9.5 in. / 208 pgs / 224 color / 8 bw. | 2/28/2014 | In stock ISBN 9788791706004 | $49.95
Published by Silvana Editoriale. Edited with text by Jérome Neutres. Text by Achille Bonito Oliva, Jurgen Shilling. Interview by Jérome Neutres.
In 2019, New York–based Chinese artist Cai-Guo Qiang (born 1957) was invited to create a work of art in the amphitheater of the Pompeii archaeological site. Inspired by the fate of the ancient Roman city, which was buried by an eruption of Mount Vesuvius, Cai’s work involved gunpowder, fireworks, an array of artifacts and a vast canvas. The performance culminated in an “excavation” of the resulting debris, which became part of Cai’s exhibition of related works at the National Archaeological Museum of Naples.
Cai Guo-Qiang and Pompeii: In the Volcano is published to document Cai’s work in Pompeii. The project at the National Archaeological Museum of Naples is part of an ongoing, multiyear series of exhibitions, An Individual’s Journey Through Western Art History. Staging work in Moscow, Madrid, Florence and now Pompeii, Cai juxtaposes his work with the Western art historical canon.
Published by Faurschou Foundation. Edited by Karen Chen, Jannie Haagemann, Tiffany Hu, Shu-Wen Lin, Janna Lund, Kelly Ma, Chinyan Wong. Foreword by Luise & Jens Faurschou. Text by Jannie Haagemann, Karen Smith, Hans Ulrich Obrist, Cai Guo-Qiang.
Throughout his career, Chinese artist Cai Guo-Qiang (born 1957) has used the motif of the boat to represent the exchange of knowledge across cultures. In his latest monograph, A Clan of Boats, Guo-Qiang gathers his use of the motif into a single compilation and speaks for the first time about the many works he has created with boats throughout the course of his artistic career. "I am actually a vessel myself," he writes in this volume; "I left home a long time ago, the centuries-old harbor city of Quanzhou. I sailed to Shanghai first, and then to Tokyo, New York, and the rest of the world, further and further, shuttling between different ports, different natural sceneries, cultures, and histories." The book includes an essay written by art critic Karen Smith and two interviews (conducted ten years apart) by Hans Ulrich Obrist.
PUBLISHER Faurschou Foundation
BOOK FORMAT Hardcover, 8.5 x 9.5 in. / 208 pgs / 224 color / 8 bw.
PUBLISHING STATUS Pub Date 2/28/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 132
PRODUCT DETAILS ISBN 9788791706004TRADE List Price: $49.95 CDN $67.50
AVAILABILITY In stock
in stock $49.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Skira. By Cai Guo-Qiang. Essay Yuko Hasegawa.
The perspective of one of the most influential contemporary artists on the complex web of conceptual and material connections between China and the Arab world. Saraab (“mirage” in Arabic) is the catalog of Cai Guo-Qiang’s first solo exhibition in the Middle East. It is a journey of personal and artistic discovery that demonstrates the emotional breadth of Cai’s work, from the intimate to the spectacular. Featuring the artist’s characteristic use of symbols and stories about local history and transnational movements, the book is inspired by the multilayered history of the artist’s hometown of Guangzhou, China, and it illuminates the long-standing but little-known relationship between China and the Arab world dating back to the ancient maritime Silk Road. It features conversations between Cai Guo-Qiang and scholars on Sino-Arab history and a monographic essay on the artist by Yuko Hasegawa, as well as images of never-before-published early works.
Cai Guo-Qiang was director of Visual and Special Effects for the opening and closing ceremonies of the 2008 Summer Olympics in Beijing. In the same year, he was the subject of a retrospective at the Solomon R. Guggenheim Museum, in New York. In fall 2010, Cai created Odyssey for the Museum of Fine Arts Houston. He currently lives and works in New York. Yuko Hasegawa is chief curator of the Museum of Contemporary Art in Tokyo, and prior to that she was chief curator and founding artistic director of the 21st Century Museum of Contemporary Art, Kanazawa (1999–2006).
Published by The Fabric Workshop and Museum. Text by Carlos Basualdo, David Elliott, Marion Boulton Stroud, Wang Mingxian.
Perhaps the best-known Chinese artist of his generation, Cai Guo-Qiang (born 1967) is famed for his ambitious explosion projects and large, theatrical sculptures and installations. Fallen Blossoms presents his newest works, documenting a 2009-2010 exhibition at the Philadelphia Museum of Art and The Fabric Workshop, with 75 full-color reproductions of the explosion project Fallen Blossoms and the gunpowder drawing "Time Scroll." Also included are photographs of the ongoing work "Time Flies Like a Weaving Shuttle," which involves the labors of five Tujia weavers in residence at the Fabric Workshop, weaving on traditional looms, and which is in progress for the duration of the Fabric Workshop exhibition. Fallen Blossoms contains an introduction by Marion Boulton Stroud, artist's statement by Guo-Qiang and essays by Carlos Basualdo, David Elliott and Wang Mingxian.
PUBLISHER The Fabric Workshop and Museum
BOOK FORMAT Hardcover, 9 x 11.75 in. / 208 pgs / 75 color.
PUBLISHING STATUS Pub Date 12/31/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 90
PRODUCT DETAILS ISBN 9780972455657TRADE List Price: $55.00 CDN $65.00
Published by Guggenheim Museum Publications. Text by David Joselit, Miwon Kwon, Alexandra Munroe, Wang Hui.
I Want to Believe accompanies the most comprehensive exhibition to date of the innovative body of work by Chinese-born artist Cai Guo-Qiang--best known for his spectacular artworks using gunpowder and fireworks. It presents a chronological and thematic survey that charts the artist’s creation of a distinctive visual and conceptual language across four mediums: drawings made from gunpowder fuses and explosive powders laid on paper and ignited; explosion events, documented by videos, photographs and preparatory drawings; large-scale installations; and social projects, wherein the artist works with local communities to create an art event or exhibition site, documented by photographs. Featuring works from the 1980s to the present, this volume illuminates Cai’s significant formal and conceptual contributions to contemporary international art practices and social activism. Generously illustrated more than 368 pages, this volume includes essays by Alexandra Munroe, David Joselit, Miwon Kwon and Wang Hui--along with some 60 documented plate entries. It is the defining scholarly publication on the artist thus far.
Published by Hatje Cantz. Introduction by Friedhelm Hütte. Text by Dan Cameron, Nicholas Mirzoeff, Zhu Qingsheng, Ariane Grigoteit.
Cai Guo-Qiang, born in Fujian Province in 1957, may be the most widely known Chinese artist of his generation. He is now based in New York, where his work has been presented at The Metropolitan Museum of Art, among other venues. He recently curated the Chinese Pavilion at the 51st Venice Biennale. And he conceived the works that appear in this book-within-a-book (a book inlaid inside a larger book, designed by Stefan Sagmeister) for the Deutsche Guggenheim. This project reflects both his own heritage and Berlin's, combining symbols of the Middle Kingdom with Western elements--notably gunpowder and fireworks with a stage set of a German house, which Cai blew sky high, videotaping the proceedings. Elsewhere a pack of 99 life-sized wolves barrels towards a glass wall: both bloodlust and transparency still seem topical half a century after World War II. Also includes a selection of earlier works.
Published by Charta. Text by Gary Tinterow, David A. Ross.
In the Spring of 2006, Cai Guo-Qiang, the Chinese-born, New York-based artist known for his ambitious explosion works and large, theatrical sculptures and installations--his most notorious work, commissioned by The Museum of Modern Art soon after 9/11, was a barrage of exploding fireworks that hovered over the city, showing that 'something used for destruction and terror can also be constructive, beautiful, and healing'--was invited by The Metropolitan Museum of Art to create a site-specific exhibition in the museum's roof garden. Those four works are featured in-depth here, including a tall glass sculpture surrounded by replicas of dead birds; a stone relief depicting post-9/11 vignettes; a pair of life-sized cast-resin crocodiles pierced with thousands of sharp objects confiscated at airport-security checkpoints; and "Clear Sky Black Cloud," an ephemeral work consisting of an actual black cloud that would hover over the roof garden and then burst into the sky at regular intervals, bleeding afterwards into nothingness.
BOOK FORMAT Paperback, 9.5 x 11 in. / 96 pgs / 115 color.
PUBLISHING STATUS Pub Date 11/1/2006 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 135
PRODUCT DETAILS ISBN 9788881586172TRADE List Price: $34.95 CDN $40.00