Cui Guangyu (Tsui Kuang-Yu) B. 1974

This work is the number three of the AP edition of five.
DVD comes with a certificate signed with Cui Guangyu and artist's seal. Each photograph comes with signature Cui Guangyu and with artist's seal. Each of the four woodblock print consists of signature of one single word from Cui Guangyu's Chinese name. Executed in 2001

Eslite Gallery, Taipei
Acquired by the present owner from the above

SOLO EXHIBITIONS
Winchester, UK, Winchester Gallery, City Crevice, Solo Exhibition by K.Y Tsui, February 2006
New York, USA, The Chelsea Art Museum, You So Crazy: Kuang-Yu Tsui’s Video Works, September 2005
Taipei, Taiwan, IT Park Gallery & Photo Studio, The Shortcut to the Systematic Life: Superficial Circumstance, October 2002
Tainan, Taiwan, Prototype Art Gallery, CHIEN. KUANG. HWUEI TAKING A SHORTCUT - Retrospective of Tsui Kuang-Yu 1994-2001, May 2001
New York, USA, ISE cultural foundation, IAQ-Infrequently asked questions, January to March 2007
Germany, Volkspark Halle / Saale, Happy Believers - 7th Werkleitz Biennale, October 2006
Paris, France, Centre Georges Pompidou / National Museum Jeu de Paume / French Cinematheque, 2006 Rencontres Internationales Paris/Berlin, November to December, 2006
Spain, Amposta, Strobe 06 · Festival de Video Creació, August 2006
Taipei, Taiwan, Taipei: Views and Points, Taipei Fine Arts Museum, August to September 2006
France, Tours, Festival Rayons Frais, July 2006
Spain, Empieza el juego- Video Festival, July to Septmeber 2006
New York, USA, Asia Society & Museum / Jack Tilton Gallery, Projected Realities: Video Art from East Asia - ACAW (Asian Contemporary Art Week program), May to August 2006

GROUP EXHIBITION
MNAC (Muzeul National de Arta Contemporana), Bucharest, Romania / Centrul de Arta Contemporana KSA:K, Chisinau, Moldova, Eastern Alliance 3 or TeleDivision Show, May-July 2006
Germany , Berlin / France, Paris (CCTP), Wrong(ed) Attitude, Sparwasser February-April 2006
Venice, The Spectre of Freedom, 51. International Art Exhibition-La Biennale di Venezia, Palazzo delle Prigioni June-October 2005
The Netherlands, Amsterdom, De Apple Centre of Contemporary Art, The Gravity in Art, December 2005-January 2006
Italy, Angelo, Unimovie, Internationsl Video and Short Film Festival, Pescara-Citta Sant' October 2005
Japan, Tokyo, Tokyo Vol. 4, Asahi Art Square, Dreaming Bodies, Video Art Screening: September 2005
The Republic of Korea, Seoul, SBS Lobby, Move on Asia-Animation & Single Channel Video Art Festival, May 2004
Japan, Fukuoka, Mitsubishi-Jisho Artium, The New Identity Part.5: Taiwan Contemporary Art Exhibition, May-July 2004
The Republic of Korea, Seoul, Seoul Museum of Art, City-Net Asia, November-December 2003

 

NOTE
With certificate of authenticity

Born in 1974, Cui Guangyi (Tsui Kuang-yu) is one of the most promising young artists currently working in Taiwan. His works, which take the forms of video, photography, and drawing cut to the heart of the modern urban condition. He is best known for his single-channel videos, which blur the line between director, actor, and subject. Absurdist explorations of the everyday, they point to the hidden potential in the surroundings we all take for granted. In his 2005 project "A Shortcut to the Systematic Life: City Spirits", Cui turned the urban environment into an athletic arena, hurdling over fire hydrants and rolling bowling balls at flocks of pigeons. A recent project for the 2006 Liverpool Biennial involved a series of videos documenting the travails of local residents following the unorthodox street signs the artist has erected, guiding pedestrians, for example, to use parking barriers as a dog-training facility.

The present work "Eighteen Copper Guardians in Shao-Lin Temple and Penetration" (Lot 169), represented in its original video form and accompanied by a number of photographs, anticipates these later witty turns and represents a high point for Cui’s aesthetic of everyday endurance. Entitled "To penetrate, the perceptive", the piece entails the artist sitting with his back toward an unnamed and invisible partner, naming the objects that are thrown at him as they come. Electrical cords, toy guns, irons fly at him in an arbitrary sequence. He names the objects that he can recognize by feel and simply replies “Do not know” to the ones that he cannot. This test of endurance derives from an initiation ritual at the Shaolin temple, but is here removed from its proper context and placed in the realm of the everyday. In this work, as in the explorations that would follow, Cui Guangyu’s practice works at once to mock and enshrine the ordinary.