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Lot 79
Qiu Zhijie (né en 1969)
Tattoo 2, 1994
Fermé21 September 2022
Prix réalisé
EUR 18,900
Plus d'informations
Qiu Zhijie (né en 1969)
Tattoo 2, 1994
tirage c-print, monté sur support
image: 170 x 146 cm.
feuille/montage: 183 x 155.5 cm.
Réalisée en 1994, cette œuvre provient d'une édition de dix exemplaires.
c-print, mounted on board
image: 66 7/8 x 57 1/2 in.
sheet/mount: 72 x 61 1/4 in.
Executed in 1994, this work comes from an edition of ten.
Tattoo 2, 1994
tirage c-print, monté sur support
image: 170 x 146 cm.
feuille/montage: 183 x 155.5 cm.
Réalisée en 1994, cette œuvre provient d'une édition de dix exemplaires.
c-print, mounted on board
image: 66 7/8 x 57 1/2 in.
sheet/mount: 72 x 61 1/4 in.
Executed in 1994, this work comes from an edition of ten.
Qiu Zhijie (né en 1969)
Tattoo 2, 1994
tirage c-print, monté sur support
image: 170 x 146 cm.
feuille/montage: 183 x 155.5 cm.
Réalisée en 1994, cette œuvre provient d'une édition de dix exemplaires.
c-print, mounted on board
image: 66 7/8 x 57 1/2 in.
sheet/mount: 72 x 61 1/4 in.
Executed in 1994, this work comes from an edition of ten.
Tattoo 2, 1994
tirage c-print, monté sur support
image: 170 x 146 cm.
feuille/montage: 183 x 155.5 cm.
Réalisée en 1994, cette œuvre provient d'une édition de dix exemplaires.
c-print, mounted on board
image: 66 7/8 x 57 1/2 in.
sheet/mount: 72 x 61 1/4 in.
Executed in 1994, this work comes from an edition of ten.
Galerie Loft, Paris
Acquis auprès de celle-ci par le propriétaire actuel
Acquis auprès de celle-ci par le propriétaire actuel
Jean-Marc Decropand, Christine Buci-Glucksmann, Modernités Chinoises, Milan, Skira, 2003, reproduit en couverture.
Tatoo II est l’une des œuvres marquantes de Qiu Zhijie. Par sa taille à hauteur d’homme en premier lieu, mais également pour le message et la symbolique de l’œuvre en elle-même. L’artiste est tatoué à même la peau de cet idéogramme signifiant littéralement : « Non ». Le choix de la couleur rouge et de ce caractère n’est pas sans allusion aux tatouages utilisés autrefois dans la culture chinoise pour marquer les hors-la loi. Ce marquage à même la peau et ce rouge violent et sanguin font aussi écho au communisme, en opposition au blanc de l’arrière-plan, symbole de liberté et de pureté. Dans la culture chinoise, le blanc témoigne du deuil et de la mort. Rien de plus explicite donc que ce message véhiculé afin de dénoncer et d’annoncer la mort de l’art, de la liberté d’expression, de la création mais aussi de l’individualité propre. Cette négation de l’individu, l’artiste l’affirme car « le sujet est impuissant à agir car il n'est rien de plus qu'une image. La seule chose qui reste est une surface plane sur laquelle n'importe qui peut ramper. Cette série est une réponse à la futilité et à la noyade de l'individu provoquées par l'assaut de la culture médiatique chinoise ». L’œuvre a notamment été exposée à Paris, au Centre Pompidou lors de l’exposition Alors la Chine ? en 2003, à New York à l’International Center of Photography and Asia Society, à Chicago au Smart Museum and Museum of Contemporary Art, au Seattle Art Museum, à Londres au Victoria & Albert Museum lors de l’exposition Between Past and Future: New Photography and Video from China ou encore à Paris au Palais de Tokyo, lors de l’exposition Ultra Peau, en avril 2006.
Tatoo II is one of Qiu Zhijie's outstanding works. Firstly because of its size at human height, but also because of the message and the symbolism of the work itself. The artist is tattooed on his skin with this ideogram literally meaning “No.” The choice of the colour red and this character is not without allusion to the tattoos used in the past in Chinese culture to brand outlaws.
This marking on the skin and the violent, bloody red also echoes communism, in contrast to the white of the background, a symbol of freedom and purity. In Chinese culture, white is a sign of mourning and death. Nothing could be more explicit than this message to denounce and announce the death of art, freedom of expression, creation and individuality. The artist affirms this negation of the individual because “the subject is powerless to act because he is nothing more than an image. The only thing that remains is a flat surface on which anyone can crawl. This series is a response to the futility and drowning of the individual caused by the onslaught of Chinese media culture.” The work has been exhibited in Paris at the Centre Pompidou during the exhibition Alors la Chine ? in 2003, in New York at the International Center of Photography and Asia Society, in Chicago at the Smart Museum and Museum of Contemporary Art, at the Seattle Art Museum, in London at the Victoria & Albert Museum during the exhibition Between Past and Future: New Photography and Video from China, and in Paris at the Palais de Tokyo during the exhibition Ultra Peau in April 2006.
Tatoo II is one of Qiu Zhijie's outstanding works. Firstly because of its size at human height, but also because of the message and the symbolism of the work itself. The artist is tattooed on his skin with this ideogram literally meaning “No.” The choice of the colour red and this character is not without allusion to the tattoos used in the past in Chinese culture to brand outlaws.
This marking on the skin and the violent, bloody red also echoes communism, in contrast to the white of the background, a symbol of freedom and purity. In Chinese culture, white is a sign of mourning and death. Nothing could be more explicit than this message to denounce and announce the death of art, freedom of expression, creation and individuality. The artist affirms this negation of the individual because “the subject is powerless to act because he is nothing more than an image. The only thing that remains is a flat surface on which anyone can crawl. This series is a response to the futility and drowning of the individual caused by the onslaught of Chinese media culture.” The work has been exhibited in Paris at the Centre Pompidou during the exhibition Alors la Chine ? in 2003, in New York at the International Center of Photography and Asia Society, in Chicago at the Smart Museum and Museum of Contemporary Art, at the Seattle Art Museum, in London at the Victoria & Albert Museum during the exhibition Between Past and Future: New Photography and Video from China, and in Paris at the Palais de Tokyo during the exhibition Ultra Peau in April 2006.
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection
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Note du spécialiste
Cette œuvre est accompagnée d'un certificat d'authenticité de la Galerie Loft.