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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Ding Yi

b. 1962, China

Ding Yi is a Chinese painter known for consistently employing a 'cross' motif in his paintings since the late 1980s. Using rational and precise methods, Ding's artworks mimic the aesthetics of mechanical design, and parallel the visual effects of the rapid industrialisation and urban development in China.

Ding was born in Shanghai and graduated from Shanghai School of Arts and Crafts in 1983, after which he worked in a toy factory as a designer. In 1986, he went on to study in the Tradition Chinese Painting department at Shanghai University, where he was influenced by Western modernism. His paintings from this time show an early experimentation with abstraction, but it wasn't until 1988 that he began using crosses in his work. The first instance was the series Appearance of Crosses, which used systems of calculations to determine their all-over, grid-like compositions.

Rebelling against the political and social allegories typical of painting in China at the time, Ding's uses of crosses was born of a desire to start at 'zero' and emphasise a rational approach to artmaking. Eschewing the 'rough' appearance of the work of his contemporaries and using rudimentary tools such as rulers, tape and paint straight from the tubes, Ding employed technical precision to invent a new language with which to express himself. As such, the x's and +'s in Ding's paintings are meant to function purely as formal marks without meaning (though they could be said to resemble some basic Chinese characters such as 'ten' 'field' or 'big') and do not require translating by the viewer. Most works in his oeuvre shares the same name as the original series—Appearance of Crosses—and are distinguished by date.

Over the years, Ding has painted on canvas, linen, tartan and cardboard and stresses the importance of painting his own works by hand, lest they become mere manufactured products. In 1991, Ding suffered back pain from prolonged use of a ruler when painting, and began to render his crosses freehand. The acrylic-on-canvas Appearance of Crosses (blue/green) (1995) is an example of this shift; the crosses appear looser than before and combine to create a visual effect akin to stitches in fabric.

While he resists representation, the patterns and colours of crosses combine to create abstract imagery in many works, such as in Appearance of Crosses 2016-4 (2016) in which groupings of light crosses against a dark background emerge to appear like cells in a computer chip or stars in a night sky. Appearance of Crosses 2010-6 (2010), on the other hand, is painted on tartan; the intersections of various crosses resemble a bright, flower-like pattern. Today, Ding only paints on wood board. Painted on basswood, Appearance of Crosses 2017-9 (2017) contains many thousand multi-coloured crosses which coalesce into random groupings of colour.

Ding is one of the most widely collected and recognised artists working in China today. He lives and works in Shanghai.

Elliat Albrecht | Ocula | 2018
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Featured Artworks

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Appearance of Crosses 2016-8 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2016-8, 2016 Mixed media on basswood
240 x 240 cm
Timothy Taylor
Appearance of Crosses 2018-7 十示 2018-7 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2018-7 十示 2018-7, 2018 Mixed media on basswood
120 x 120 cm
Tang Contemporary Art
Appearance of Crosses 2017-B10 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2017-B10, 2017 Acrylic pencil and colour pencil on paper
32 x 43 cm
ShanghART
Appearance of Crosses 2017-18 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2017-18, 2017 Mixed media on basswood
120 x 120 cm
ShanghART
Appearance of Crosses 2018-1 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2018-1, 2018 Mixed media on basswood
240 x 240 cm
ShanghART
Appearance of Crosses 2018-3 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2018-3, 2018 Mixed media on basswood
120 x 120 cm
ShanghART
Appearance of Crosses 2018-4 十示 2018-4 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2018-4 十示 2018-4, 2018 Mixed media on basswood
120 x 120 cm
ShanghART
Appearance of Crosses 2016-B12 by Ding Yi contemporary artwork
Ding YiAppearance of Crosses 2016-B12, 2016 Acylic on handmade paper
43 x 32 cm
Timothy Taylor

Recent Exhibitions

View All (13)
Contemporary art exhibition, Group Exhibition, Painting and Existence at Tang Contemporary Art, Hong Kong
Closed
15 February–16 March 2019 Group Exhibition Painting and Existence Tang Contemporary Art, Hong Kong
Contemporary art exhibition, Ding Yi, Interchange|立交 at ShanghART, Shanghai
Closed
7 November 2018–6 January 2019 Ding Yi Interchange|立交 ShanghART, Westbund, Shanghai
Contemporary art exhibition, Group Exhibition, White Flash at ShanghART, Beijing
Closed
5–31 August 2018 Group Exhibition White Flash ShanghART, Beijing

Represented By

In Related Press

View All (9)
Ding Yi: a User’s Manual Related Press Ding Yi: a User’s Manual RanDian : 17 June 2017

Ding Yi's paintings refuse to answer, to limit or be limited. Whether small or vast, their multi-hued fields of crosses map and divide pictorial space, transparent and unguarded, beguiling with pattern. But this is no panacea for interpretation, for anything-goes opinion. Look closely at each painting and you can become familiar with them, with the...

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APPEARANCE OF CROSSES Related Press APPEARANCE OF CROSSES ArtAsiaPacific : 1 June 2017

Ding Yi is an artist committed to a language of crosses, taking two symbols as his alphabet: 'x' and '+'. From the outset of his career in the mid-1980s, the artist has been associated with and defined by variations of abstract grid works composed of these marks. His first solo show in the United Kingdom at London's Timothy Taylor gallery is a...

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Ding Yi: Chinese art, but not as you know it Related Press Ding Yi: Chinese art, but not as you know it The Weel : 26 May 2017

Of course, I haven't missed the fact that Chinese art has become very fashionable in the west recently. It was big before in the mid-1990s, but in a different way.

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Unlimited section at Art Basel in Basel to include El Anatsui, Stan Douglas et al. Related Press Unlimited section at Art Basel in Basel to include El Anatsui, Stan Douglas et al. ARTNews : 29 April 2016

Unlimited, the Art Basel platform allotted for large-scale and unconventional artworks, will be showing a record 88 projects from participating galleries this year. Gianni Jetzer, curator-at-large at the Hirshhorn Museum and Sculpture Garden, is heading the section for the fifth year in a row.

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In Video & Audio

Tim Marlow in conversation with Ding Yi Related Video & Audio Tim Marlow in conversation with Ding Yi Timothy Taylor : 15 June 2017

Born, raised and educated in Shanghai, Ding Yi continually draws inspiration from the city's physical and philosophical framework. His works are defined both by a language of 'x's and '+'s as well as by their grid structure, initially reflective of the fluid architectural milieu of late 1980s Shanghai. Ding Yi's tenacious practice operates within a...

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