Hot Blood

15 March – 4 August 2019

Not for the faint of heart*

Since Chinese contemporary art exploded onto the international stage in the 1990s, dramatic changes in Chinese society have, in turn, changed the nature of its art. HOT BLOOD presents a group of artists who confound outmoded expectations about China, reflecting unflinchingly on the most uncomfortable truths of our age. 

They engage with global art discourses, adapt new and emergent technologies, reinvent art traditions and challenge sexual  and social taboos. Playful, irreverent, and sometimes downright subversive, their subjects range from desire to spiritual ecstasy, from solitude in a crowded world to traumatic memories, from the frontiers of neuro-science to experiences of diaspora. 

Some focus on the virtual landscape inhabited by billions of people across the globe;  they adapt the new languages of social media, music video and gaming, or satirise the aesthetics of the Chinese internet. Others confront shibboleths surrounding sex, birth, bodily frailty and death in works exploring the physical and psychological realities of being human. But whether they are savvy millennials, or the avant-garde pioneers who introduced Chinese contemporary art to the world, they refuse to be labelled or limited by gender, age or national identity.

HOT BLOOD is drawn completely from Judith Neilson’s renowned White Rabbit Collection.
CURATOR: David Williams

Please click on the artists’ names below to discover more information about each artist and their work.

*WARNING: Artworks in this exhibition may be disturbing to some visitors and unsuitable for viewing by children.

GROUND FLOOR

Lu Yang
Electromagnetic Brainology, 2017,
video installation, dimensions variable

FIRST FLOOR

Hsieh Chun-Te
RAW—Bitches, 1987-2011,
photograph, 240 x 300 cm

Huang hua-chen
The Family Album—So See You Later, 2009-12, oil on canvas, dim variable

leung mee ping
Expected Departure, 2004-16,
x-ray lightboxes, 100 pieces

miao ying
Problematic GIFS—No Problem at All, 2016, GIF installation, flatscreen tv, lightbox, 298 x 241 x 8 cm

NimUË
Beat the Air, Ebb the Flow, Handshake, In the Air, Kissass, Monkey Island, Nailed It, Pull Yourself Together, Qualified, Spice it Up, Vibes, 5:55, 2014-16,
videos, durations variable

Peng yun
Miss Melissa and Mr Fish at 2:31pm, 2013, video, 7 min 47 sec

Sun furong
Nibbling Up—Tomb Figures, 2008,
cloth, mixed media, 180 x 550 x 250 cm

xiao lu
Sperm, 2006,
stainless steel freezer, glass jars, wooden shelving, file boxes, photograph, video, dimensions variable

Zhu Liye
Line-Up, 2007,
chromogenic colour print, 114 x 114 cm

SECOND FLOOR

cui jie
Rose’s House, 2014,
oil on canvas, 150 x 200 cm
Crane’s House 3, 2014,
oil on canvas, 150 x 110 cm

firenze Lai
Noise, Wind, Shadow, Untitled, Contour 12, Contour 17, Sacred Sunday, Mrs Fong Heung, Betting Station, Security Guard, Raincoat, 2009-13,
media and dimensions variable

guo ling
Prejudice 10, 2008,
oil on canvas, 200 x 300 cm

hu liu
Grass, 2015,
pencil on paper, 109 x 253 cm

Jiu society
Jiu Bobo, 2015, video, 1 min 20 sec

Kuo Chia-Ling
3 Minutes Sea Wave at Night, 2014,
video, 3 min
You Can’t Talk With Other People, 2014, video, 8 sec

Liang Tao
Luofu Dream—Pink Pink, 2006,
wood, sponge, wire, fabric, dim variable

mia Liu
A Route of Evanescence, 2015,
paper on steel, 170 x 230 x 60 cm
Guggen’ Dizzy, 2009–2011
blank tickets to Guggenheim Museum, New York, masking tape, motors, plywood 3 pcs, 174 cm diameter x 30 cm

Patty Chang
Configurations, 2017,
2 channel video, 13 min 4 sec
Glass Urinary Devices, 2016,
hand-blown borosilicate glass, plastic,
5 pieces, dimensions variable

Shi zhiying
High Seas, 2008,
oil on canvas, 200 x 800 cm

yin xiuzhen
Life, 2007-11,
used clothes, dimensions variable

THIRD FLOOR

CHEN ZHE
Bees, 2010-12,
inkjet prints x 40 pieces, dim variable
The Bearable, 2007-10,
inkjet prints x 30 pieces, dim variable

Huang Wan-Ling
Travel Notes—Peking Duck,
Travel Notes—Vermont, March 1,
Travel Notes— Vermont, March 2
,
2010-14, watermark woodcut prints,
each 30.5 x 180 cm

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