"Through Popular Expression" Display
Zheng Guogu’s works in his "Through Popular Expression" display are the response of the artist to commercial trends. His work Computer controlled by pig’s brain No. 59 belongs to his series Computer controlled by pig’s brain. This series is a refraction of how the media is overflowing and stimulating our everyday life. In these works he uses different elements of Hong Kong pop-culture magazines, which address people’s senses and their attraction to our consumerist branding culture. Put on the leatherette-canvas, the elements engender a corresponding ‘fancy’ effect. Sewing for another two thousands years is a textile work and part the needlepoint series, typical of his style in which traditional canvas-painting takes on the traits of embroidered carpet or wallpaper. The One hundred and fifty 10000 customers series was made as an homage to Hans van Dijk, the late Dutch curator who had a major influence in Chinese art after 1985, and a challenge to the contemporary art market to find 10,000 buyers for this series of works which, theoretically, consists of as many pieces. Each single work shows a daily news image composed out of a grid of hundreds of small photos of motorcycles. 150 different pieces together shows the massiveness of our volume-oriented, consumer culture. Zheng Guogu’s works aren’t judgments or counter-attacks, they are just enlargements of our reality
Read more about this topic: Zheng Guogu
Famous quotes containing the words popular, expression and/or display:
“I am glad of this war. It kicks the pasteboard bottom in of the usual “good” popular novel. People have felt much more deeply and strongly these last few months.”
—D.H. (David Herbert)
“This is the great truth life has to teach us ... that gratification of our individual desires and expression of our personal preferences without consideration for their effect upon others brings in the end nothing but ruin and devastation.”
—Hortense Odlum (1892–?)
“Voluptuaries, consumed by their senses, always begin by flinging themselves with a great display of frenzy into an abyss. But they survive, they come to the surface again. And they develop a routine of the abyss: “It’s four o’clock ... At five I have my abyss.””
—Colette [Sidonie Gabrielle Colette] (1873–1954)