Born in 1961, graduated from Industry Design College,Jiangnan University in 1982.
1985 Art Exhibition of Jiangsu Province, Nanjing
1986 Six-Person-Exhibition, Changzhou
1986 Sun-Tanning, Nanjing
1987 Red Trip, Frist Stop Exhibition, Nanjing
1989 China Mordern Art Exhibition, Beijing
1991 Starting up "Art Currents" Magaznine
1992 Starting up Serial Book "Culture and Art Forum"
1993 Solo Exhibition, Taiwan, Kaohsiung
1995 Zhou Junwei, Hong Lei and Cao Xiaodong, Trio Art Exhibition, Changzhou
1998 corrupturism，Beijing
1998 Images Telling Stories-Chinese New Concept Photography Exhibition,Shanghai
2005 Jianghu Art，Beijing
2006 Abstract 798，Beijing
2006 Art No Boundary，Beijing
2006 Documental Exhibition of China Mordern Art, The China Millennium Monument, Beijing
2007 It's Mean,Beijing
2007 Sunshine，Beijing
2007 Predicament,Shanghai
2007 Solo Exhibition,Beijing
2007 Rotation，Qinghe Museum opening Exhibition,Nanjing
2007 Revolution，ChinaSquare gallery，New York
2008 Solo Exhibition,Ode gallery，Singapore
2008 Solo Exhibition,Wellington gallery，Hongkong
2008 Abstract，Trio Art Exhibition，Beijing
2008 Save As，Solo Exhibition，Virginia Miller gallery，Miami
2009 'Stars of China - Past and Present',modern art Museum Jan van der Togt,Holland
2009 Chinese scene-Chongqing station，contemporary art big exhibition, Chongqing
2009 Caoxiaodong abstract solo exhibition,Egg gallery,Beijing
2009 Nothing，Genssun gallery，Beijing
2009 Beijing 798 Biennale 2009,Beijing |
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Zhu Qi:
To some extent, the experiment by Cao Xiaodong is anti-painting: no paints, no specific images, and no brushwork and texture. This makes the picture become the vestige of the painting activities left on the canvas. Painting is no longer the imitation and reappearance of forms and images, but rather the physical result of trace or carry-over. The matrix array with dots seems to be the least graphic rule, but what the painting expresses is not necessarily the graphics. If the painting is in a non-matrix array or disorder form, it is a graphics. The matrix array is actually not an image or graphics, but a matrix form of dots. The canvas is only a medium to carry the series of dots, which are neither pixels nor elements of images and graphics. They are not the illusion of images, but rather the physical remains of burning behavior.
Such experiment by Cao Xiaodong undoubtedly breaks the limit of painting. He wanted to break the illusions of 3-dimentional and 2-dimentional graphics. His experimental painting seems to have only one dimension on the canvas, which is the vestige of burning, or rather a physical existence. Before the sense of reality of the existence, the minimum matrix array is secondary.
The essence of this experimental painting is not about the painting itself, but to redefine the relationship between the self and the art or the artistic mode through painting. To achieve the redefinition of the relationship between art and the existence in a real sense, one has to return to the painting with minimum lines, i.e. a painting that cannot called painting at the boundary. So the self-existence of behavior also needs to return to the behavior boundary of artistic reappearance, i.e. an inartistic art behavior similar to Zen Buddhism. By returning to the approach of eliminating the boundaries of painting and art, Cao Xiaodong tried to find the language fragments of self-generation from contemporary Chinese painting. |
