Now one of the most important video artists in China, Wang Gongxin was largely an outsider in relation to the country’s avant-garde movement in the mid-1980s. As an outstanding student in Soviet realism–style oil painting, in 1987 he was sent to New Yorka space-time drastically different from China, culturally and aesthetically, and already deep in postmodernismto further his art studies. At first shocked by the art practices on the other side of the earth, Wang slowly shifted his painting to a more minimal and conceptual mode in the late 1980s. In 1993, he combined his new works with elements from painting, concepts of daily life, and a newfound ambition to deconstruct.
For “Rotation,” his new solo exhibition, Wang took a group of previously undiscovered kinetic installations, conceived in the mid-1990s as a departure from his earlier practices, to review and revisualize
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