Review | In the exhibition, S...

Generated on 2023-08-24 12:57:19

Result #1

In the exhibition, Sun Mu shows a number of “self-portraits” without a face. This is covered by a wide-brimmed hat. On a paper motif with a fiery red background, he rocks in a coat and hat as a black stenciled figure with a guitar on barbed wire. "My Song" is the title of the large poster-like sheet. And in the next picture he has attached yellow petals to the thorns of the barbed wire; the brutality of the metal symbol of imprisonment, of pain and suffering, transformed into a garland of blossoms or bird wings.Sun Mu was born in Beijing in 1972 and studied with the legendary sculptor Jiang Qiang. The artist is also known for his critically acclaimed, widely recognized, and highly sought-after solo exhibitions. His performance pieces, for instance, were featured at the opening for the 2000 Whitney Biennial and the Beijing Biennale in 2004. In 2004, at the age of twenty-five, he was awarded the Nobel Prize in Literature for his novel The Song of the Six Professors.His work also evokes the past. The title of his 2006 performance, for example, was Not the First Time I Have Seen the Heavens Gate, as he called it, for he had first seen it on a trip to New York in 1997. In the performance, he traversed the Manhattan skyline, the Upper East Side, and the Lower East Side in a single-file line that passed through several buildings. The title was taken from a poem by the poet Li Xing, who also wrote the poem Not the First Time I Have Seen the Heavens Gate, the same year. Sun Mu was born in Beijing in 1972. His parents, Sun Gong, and Sun Mu, all live in Beijing. In 2005, Sun Mu won the National Book Award for his poetry. In 2008, the poet Li Jingwen, who is Sun Mu's great-uncle, was awarded a Pulitzer Prize for his novel, the story of the six professors, whom Sun Mu has called his heroes.In this show, Sun Mu also took the opportunity to reflect on his life and work. The paintings on the walls of the gallery are made from old, faded photographs of the same buildings, and the photographs are all from the 1970s, the period of the Cultural Revolution. He draws attention to the buildings quality of preservation, in contrast to the scenes that were destroyed during the Cultural Revolution. The buildings are often in poor condition, and in some cases, Sun Mu suggests, they are in bad shape.

Result #2

In the exhibition, Sun Mu shows a number of “self-portraits” without a face. This is covered by a wide-brimmed hat. On a paper motif with a fiery red background, he rocks in a coat and hat as a black stenciled figure with a guitar on barbed wire. "My Song" is the title of the large poster-like sheet. And in the next picture he has attached yellow petals to the thorns of the barbed wire; the brutality of the metal symbol of imprisonment, of pain and suffering, transformed into a garland of blossoms or bird wings. In this way, Sun Mu is trying to hide his identity as a victim of his own past. The artist also plays on the usual motif of Chinese mourning—the dead are not buried, but are placed in elaborate, elaborate, and often large-scale memorials. In this show, Sun Mu has placed a large plaque at the center of the floor. The plaque reads, In the past, people did not mourn for the dead, but for the living. Now they mourn for the living. Sun Mu shows his face in front of this plaque. In the background, a portrait of his mother hangs above a group of flowers. The flowers are framed by a large, round, and white phoenix. The phoenix is the symbol of Chinese history, and in this context it is an icon of the Chinese revolution. Sun Mu shows the phoenix in front of his mother. The phoenix is a symbol of the Chinese revolution. In this show, Sun Mu presents his mother, his mother, and his mother in a poignant way. The mother, the mother, the mother is a symbol of the Chinese people. The mother and the phoenix, mother and father, are two of the most important figures in the history of the Chinese people. In this way, Sun Mu shows the unity of Chinese people. The mother and father are like two brothers, and the father and the mother are like two sisters, all of them united in grief. In the end, Sun Mu shows his mother and father in a state of deep mourning. It is a state of deep mourning. Sun Mu shows his mother and father in mourning. The mother and the father are like two brothers, and the father and the mother are like two sisters, all of them united in grief. In this way, Sun Mu shows his mother and father in mourning. It is a state of deep mourning.

Result #3

Sun Mu carries the message of a great personage to the very heart of his own existence. Sun Mu is a man of many voices, of many subjects, who will not be silenced. His story is not only one of love but of many countries, of many cultures, of many languages. In his own words, My Song is a world where you can become a star. I wish to live in the world of the stars, in the world of the stars, in the world of the sky. Sun Mu is a man who will not be silenced. He will not be silenced.

Result #4

In the exhibition, Sun Mu shows a number of “self-portraits” without a face. This is covered by a wide-brimmed hat. On a paper motif with a fiery red background, he rocks in a coat and hat as a black stenciled figure with a guitar on barbed wire. "My Song" is the title of the large poster-like sheet. And in the next picture he has attached yellow petals to the thorns of the barbed wire; the brutality of the metal symbol of imprisonment, of pain and suffering, transformed into a garland of blossoms or bird wings. The title is also the title of another painting on the same sheet, in which the artist holds up a stick with a knife in one hand, a guitar in the other. The words Self-portrait are painted in a bold, distinctive style, the sticks being covered by flowers and petals. In this work, Sun Mu seems to be playing the theme of self-portrait in the gallery. In the other two, Sun Mu shows a large white canvas, the words Self-portrait, with the title, Self-portrait, Self-portrait, Self-portrait. This painting is a large image in which the artist uses a wide brush and paints on a broad background. The artist repeats the same image on a large canvas.The last painting on view, the most complex, is a large, densely layered picture on a large sheet of paper. The artist has made an intricate, painterly and elaborate drawing. The drawing is based on a grid of four rectangles, the fourth in black. The drawing is composed of a kind of patterning that appears as a pattern on the paper. The drawing is based on the same grid, but on a larger scale. In each drawing, the artist fills in the red dots with colored strokes. The drawing is made up of four rectangles. Each rectangle has a colored line, a different color. The fourth rectangle is a black rectangle. The last rectangle is a white rectangle. The drawing is made up of three rectangles, each color being different. The drawing is made up of four rectangles, each color being different.The title of the exhibition is My Song, My Song, My Song. This title is repeated in the catalogue. Sun Mu is making a personal song about himself. The artist has created a visual and verbal description of himself, a description that is like a story about a dream. The artist is a self-contained person, a self-sufficient person, a self-creating person.

Result #5

In the exhibition, Sun Mu shows a number of “self-portraits” without a face. This is covered by a wide-brimmed hat. On a paper motif with a fiery red background, he rocks in a coat and hat as a black stenciled figure with a guitar on barbed wire. "My Song" is the title of the large poster-like sheet. And in the next picture he has attached yellow petals to the thorns of the barbed wire; the brutality of the metal symbol of imprisonment, of pain and suffering, transformed into a garland of blossoms or bird wings. In the last picture, he has a dozen paper fans in his hands, his fingers still visible in the traces of his gestures. In the background, the black-and-white photograph of the same image is more than a little tawdry, but in the foreground it is a visual feast.Sun Mu and his collaborators have a fine sense of humor. It is a funny thing, they say, to see how a photograph can be made into a work of art. This is not a novel idea. But in this exhibition, Sun Mu goes a step further, presenting a series of self-portraits. In each, a piece of paper is cut into a square and then painted with black ink. In one, he applies the black ink on the paper in a sort of holographic process. The ink is applied to the paper as if it were a mirror. The results are pictures of his own body, in black and white, with the black paper painted over. His body, with its pale skin, reddened hair, and ragged hair, looks like a corpse. The blackness of the paper, which has a natural tendency to darken, and the blackness of the black paint, which has a rich, fleshy texture, are transformed into a soft, luxurious white. This white is the result of the black-and-white process, a transparent, transparent white. Sun Mu is a master of the illusion of light. And his art is richly lyrical. His work, like that of many artists of his generation, is about the beauty of the shadows and the beauty of the shadows.Sun Mu is an artist of great sensitivity, of great sensitivity, and of great sensitivity. He is a master of the uncanny, of the strange and the beautiful, and of the uncanny and beautiful. The paintings are about the nature of the uncanny, and of the nature of beauty.