MONUMENTA 2016 Huang Yong Ping Empires at the Grand Palais
Since 2007, each year Monumenta has invited an artist with an international reputation to take on the Nave of the Grand Palais, an immense 13,500m2 glass dome, 35-metres high.
Huang Yong Ping (born in China in 1954, living in France since 1989 and currently based in Ivry-sur-Seine) is a major figure of the avant-garde of 1980s China. During this period, he founded the Xiamen Dada movement, whose motto is “Zen is Dada, Dada is Zen”.
The true founder of contemporary art in China, he carried out radical acts as part of this group which cultivate a certain taste for paradox and protest through the absurd. From the start of this period, his work has established links between art, life and politics.
Drawing inspiration from mythical tales, whether religious or philosophical, he revisits and combines beliefs and referents from East and West to create grandiose, dreamlike scenes featuring animals, and alerts us to the troubling and disturbingly current relevance of these myths that challenges our certainties.
An artist of every excess
Huang Yong Ping has demonstrated the power of his monumental installations, which have become his trademark, on multiple occasions.
From “Les Magiciens de la Terre” (Magicians of Earth) in 1989, when his machine-washed books invaded the space of the Grande Halle de la Villette, to his life-sized “Noah’s Ark” (‘Arche 2009’) in 2009 in the chapel of the Beaux-Arts in Paris, not forgetting the Venice Biennale (‘Un Homme, neuf animaux’ – “One Man, Nine Animals” –1999), where his mythological animals pierced through the roof of the French Pavilion, the originality of these installations resides in their eminently contextual nature; each work is directly inspired by the historical, political, social and architectural context of its exhibition location.
Huang Yong Ping will create an immense immersive installation. The spectacular project consists of a colorful architecture of eight islands, over which looms a structure whose drop shadow, through both its direction and form, combines with that of the metal skeleton of the glass dome.
Standing back in the central Grande Allée, this perspective allows visitors to fully appreciate the entire installation and the scale of the Nave, which the artist is taking on.
Grand Palais, NEF
3, avenue du général Eisenhower