Inopportune: Stage Two
Cai Guo-Qiang, 2004, nine life-sized tiger replicas, arrows, and mountain stage prop. Tigers: papier-mâché, plaster, fiberglass, resin, and painted hide; arrows: brass, threaded bamboo shaft, and feathers; and stage prop: Styrofoam, wood, canvas, and acrylic paint, dimensions variable, © 2004, courtesy of National Gallery of Canada and the artist. Installation view at Shawinigan Space, National Gallery of Canada, Québec, 2006.
In his ephemeral performances, gunpowder drawings, and arresting installations, Cai Guo-Qiang explores humanity’s place in the universe and our responsibilities on Earth. He draws us into his work with the visual language of explosion and the aesthetic of pain. He captures the residue of human aggression, the visceral traces of violence against nature and our collective future. He presents these traumatic visions on a continuous loop, inviting us to search for a way to break the cycle of human history. As we struggle with the burdens of these revelations, we find hope in human ingenuity and our shared heritage of great leaps forward. We see the vast power of our species, both in its ability to destroy the environment through exploitation and its potential to elevate life on Earth with creativity and invention.
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Inopportune: Stage Two
Cai Guo-Qiang, 2004, nine life-sized tiger replicas, arrows, and mountain stage prop. Tigers: papier-mâché, plaster,fiberglass, resin, and painted hide; arrows: brass, threaded bamboo shaft, and feathers; and stage prop: Styrofoam, wood, canvas, and acrylic paint, dimensions variable, © 2004, courtesy of MASS MoCA and the artist. Installation view at MASS MoCA, North Adams. Photo by Kevin Kennefick.
Cai Guo-Qiang, 2013, 99 life-sized replicas of animals, water, sand, drip mechanism, dimensions variable. Installation view at the Gallery of Modern Art, Brisbane, 2013, © 2013, courtesy of Queensland Art Gallery | Gallery of Modern Art Foundation and the artist. Commissioned with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation. Queensland Art Gallery Collection, Brisbane. Photo: Natasha Harth, QAGOMA. Courtesy: Queensland Art Gallery ׀ Gallery of Modern Art
The Ninth Wave
Cai Guo-Qiang, 2014, Installation incorporating 99 life-sized replicas of animals, wooden fishing boat, one white flag, electric fan, 1700 x 455 x 580 cm, © 2014, Commissioned by the Power Station of Art, Shanghai. Detail, The Ninth Wave sailing on the Huangpu River by the Bund, Shanghai, 2014. Photo by Wen-You Cai, courtesy Cai Studio
Clear Sky Black Cloud
Cai Guo-Qiang, 2006, black smoke shells © 2006, Realized at The Iris and B. Gerald Cantor Roof Garden, The Metropolitan Museum of Art, New York, Daily at noon, Tuesday through Sunday from April 25–October 29, approximately 5 to 13 seconds. Commissioned by The Metropolitan Museum of Art [Ephemeral]. Photo: Hiro Ihara, courtesy of Cai Studio
Move Along, Nothing to See Here
Cai Guo-Qiang, 2006, painted resin with sharp objects confiscated at airport security checkpoints, installation dimensions variable, crocodiles: 241.3 x 132.1 x 406.4 cm and 228.6 x 116.8 x 426.7 cm, © 2006, courtesy of the artist. Detail, installation view at the Iris and B. Gerald Cantor Roof Garden, the Metropolitan Museum of Art, New York, 2006. Photo: Teresa Christiansen, courtesy The Metropolitan Museum of Art
Crocodile and Sun
Cai Guo-Qiang, 2007, gunpowder on paper, mounted on wood as six-panel screen, 233 x 463.8 cm, © 2007, courtesy of the artist. Photo: Hiro Ihara