Qiu Zhijie
| Qiu Zhijie | |
|---|---|
| Born | 1969 Fujian province, China |
| Nationality | Chinese |
| Education | Zhejiang Academy of Fine Arts, Hangzhou |
| Known for | Calligraphy, Video, Photography, Painting |
| Notable work | Propagator in the Darkness, Orchid Pavilion Preface, Tattoo 1, A Suicidology of the Nanjing Yangtze River Bridge |
| Qiu Zhijie | |||||||||
| Chinese | 邱志杰 | ||||||||
|---|---|---|---|---|---|---|---|---|---|
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| Transcriptions | |
|---|---|
| Standard Mandarin | |
| Hanyu Pinyin | Qiū Zhìjié |
| IPA | [tɕʰjóu ʈʂɨ̂tɕjě] |
Qiu Zhijie (邱志杰; born 1969) is a contemporary Chinese artist who works primarily in video and photography. Overall, Qiu's work suggests the struggle between the forces of destiny and self-assertion. Other common themes are social fragmentation and transience.
Qiu was born in 1969 in Fujian province. In 1992, he graduated from the printmaking department at Zhejiang Academy of Fine Arts, Hangzhou. He now lives and works in Beijing.
The artist's break-through exhibition was in 1992 with China's New Art, Post-1989 at the Hanart Gallery and Hong Kong Arts Centre. By 1999, his work began receiving overseas interest with his inclusion in Revolutionary Capitals: Beijing-London at the Institute of Contemporary Arts, London. In 2007 he had his first solo exhibition in the United States at the New York gallery Chambers Fine Art.
In 2005, his work was exhibited in the Victoria and Albert Museum's Between Past And Future: New Photography And Video From China, including Tattoo 1, which explores Qiu's assertion that in our media-saturated age, "signs and codes have overpowered actual human beings, and our bodies have become merely their vehicles." The character bu — meaning "no" — is written across the artist's body and on the wall behind him, creating the illusion that it floats free of the body.
Qiu was born in 1969 in Fujian province, China. He graduated from the printmaking department of the Zhejiang Academy of Fine Arts, Hangzhou in 1992. Soon after, he was developing his technical and conceptual skills, as seen in his graduate work A New Life (1992). The installation featured 16 glass panels of different sizes on which texts, slogans, and figures were printed. The installation create a translucent labyrinth from these panels, which allowed the audience to take part in the work as their bodies filled the clear sections of the glass panels. Qiu's work in A New Life developed the basis for later works including Bathroom (1997) and his Tattoo series (1994). The Tattoo series in particular further explored the concept of free-floating symbols and words that were imposed on the individual. The imposition of the external world onto the individual for better or worse is also featured in his Rainbow photography series.
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