Terrestrial Harmonies - Wu Daxin Solo Exhibition (solo)
Date 2019.03.22-2019.04.20...closed
Opening 2019.03.22, 16:00, Friday
Venue Triumph Gallery
Curator Fabio Cavallucci
Artist Wu Daxin

Synopsis

We are pleased to present the first solo show of Wu Daxinat the Triumph Gallery in 798 Art Zone in Beijing, entitled Terrestrial Harmonies on March 22, 2019.Curated by the international curator Fabio Cavallucci, the exhibition presentsfour new major works created for the occasion.
Wu Daxin, an artist from Quanzhou with international experience, has for several years been dealing with issues related to the disappearance of traditional Chinese culture due to fast economic growth. On the one hand progress creates a sense of comfort; while on the other it erases many aspects of history and tradition.
The exhibition begins with a dragon, a typical Chinese mythical figure and a symbol of the unity between man and nature. Unusually however it is made of straw and mud, both poor materials, which are a metaphor for the decadence of current values.
After this we are surprised by a giant head, recognisable as a Buddha's bust, that on closer inspection is seen to be made of empty medicine bottles. There is a direct reference to anews story in this work; not long ago people did not hesitate to produce counterfeit children's vaccines, selling bottles containing water rather than medicine. Corruption and the thirst for money creep in everywhere, even in the reassuring face of a Buddha.
In the third room there is a work created using a typical Wu Daxin technique, with thin steel rods which create doodles and hovering drawings which form figures and signs. This time he creates large ideograms, the eternal cohabitation between images and words, which in this case also assumes a three-dimensional form.
In the last room, at the centre of the space, there is a structure with moving cogwheels, a large clock mechanism consisting of 7 levels, 49 floors, 500 gears. A sort of Buddhist prayer machine, a tree of life. It is inspired by the spires of the two stone towers from the artist's city of Quanzhou, which are both heavenly and terrestrial structures, both Buddhist temples and ancient lighthouses for sailors.
There is therefore an ethical dimension running through the work of Wu Daxin, an aspiration to rediscover harmony, relationships between things which progress with its abrupt interventions often tends to obliterate. Art is perhaps the great force capable of achieving this renewal, of rediscovering a harmony which resides on earth for humankind and not in the celestial spheres of Nirvana.