Brother Gao's main works

2005 "The Second Reality-Photography Art from China", "Plaza", EU Headquarters Building (Brussels); "The 8th International Sculpture and Installation Exhibition (Venice, Italy);" Tiananmen Square-the Gate to Heaven "(Amsterdam, Netherlands) Image Utopia: 13 China Pioneer Photographer who influenced the art world", Beijing cutting-edge art project (Beijing); Pingyao International Photography Exhibition, Pingyao, Shanxi; "Five Cities" Photography Exhibition, Space 798 (Beijing); "High Frontier-High Brothers/Huangyan+Zhang Tiemei Digital Image Art Exhibition", Beijing New Art Project (Beijing); Posture-Ongoing Visual Library ",Macedonian Museum of Contemporary Art (Thessaloniki, Greece)" 360-degree City-French-China Photography/Video Exhibition ",Beijing Frontier Art Project (Beijing); "China Pioneer-China Contemporary Art Exhibition", ARENA (San monique, USA); "Metaphor and Mirror Image" Contemporary Art Exhibition, "Beijing New Art Plan" (Beijing); "Scratching and Confusion-China Singapore Digital Image Art Invitational Exhibition", Beijing New Art Project (Beijing); Between the Past and the Future-New Photography and Movies from China ",Seattle Art Museum (Seattle, USA); Between the Past and the Future —— New Photography and Movies from China ",Chicago Museum of Contemporary Art, Smart Art Museum (Chicago, USA).

2004 "Between the Past and the Future-New Photography and Movies from China", new york International Photography Center, Asia Society (new york, USA); "Designing Marbles-40 International Artists in carrara" (carrara); Tiananmen Square, China Visual Gallery (Paris). 2003 "The Second Rome International Photography Festival", Rome. "China Art Exhibition Today", Beijing China Millennium Monument. "Su He Contemporary Art Exhibition", Su He Street, Beijing. "Bodies of Men and Women: A Joint Exhibition of Contemporary Artists", Beijing 798 Art Community.

2002 "Knowledge is Power" Contemporary Art Exhibition (Beijing Xidan Book Building); The Limit of Body (Shangri-La Art Commune, Beijing); "The First Triennial Exhibition of China Art" (Guangzhou Art Museum); "Pingyao International Photography Exhibition" (Pingyao, Shanxi); "Illusion, Reflection on the Concept of Contemporary Artists in China" (Donghai).

200 1 year "Mao Y'a Pas photo" (Paris, France); "Nice International Photography Festival", Nice Museum of Contemporary Art (Nice, France); Los Angeles International Art Biennale (Los Angeles, USA); "Sino-German New Media Art Exhibition" (Beijing Tibetan Cool); "Tirana International Art Biennale" (Albanian National Art Museum, Tirana); "360-degree Rotation of China Scheme Art Exhibition", Haishangshan Art Center, (Shanghai); "Moving Vision: Beijing International Image Exhibition", Peking University.

2000 "China Pioneer Artists Literature Exhibition" (Fukuoka Asian Art Museum); Portraits, figures, a pair and a group: from the collection of Bizate (Shanghai) Modern China Art Foundation; "home? Contemporary Art Suggestions ",Yuexing Furniture Plaza (Shanghai); "People and Animals" Performance Art Exhibition (Beijing).

1999 "The Second Annual Exhibition of Contemporary Sculpture Art", He Xiangning Art Museum (Shenzhen); "World China Installation Art Literature Exhibition", Hong Kong Arts Company (Hong Kong); "Heterogeneous Writing Style —— Graphic Exhibition of Contemporary Artists in China", (Art Museum of Nanjing Normal University); "Out of Control" Contemporary Art Exhibition, Beijing Design Museum.

1996 "China Contemporary Art Research Literature Exhibition", Chengdu.

1992 "The First Art Biennale in Guangzhou in 1990s" (Guangzhou).

1989 China Modern Art Exhibition, China Art Museum (Beijing).

1985 "Dedicated to Shandong Modern Art Exhibition" (Jinan).

The greatest wisdom of the Gao brothers is anti-fashion. 89 Modern Art Exhibition, "Midnight Mass" is contrary to rationality and grand theme in the form of absurd banter; The Cross of Criticism in 1990s is opposite to cynicism with its grand narrative theme. At the turn of the century, the extremely humanized "hug" behavior is incompatible with bloody violence.

-Gao Mingxi

Modern art in China in 1990s is characterized by the combination of popular culture and cultural criticism. The art of Gao Brothers indicates another possibility-pure spiritual criticism. Starting from the realistic spiritual crisis, they extended to the mental state of human beings, realized the double criticism of material and spirit, and reflected the loss of idealism and the anxiety of cultural vulgarization under the post-modernism conditions. At the 89 "Modern Art Exhibition", many people were shocked by the provocative cultural criticism and ridicule of their "inflatable" installation works. After entering the 1990s, judging from their two series of "Copier Art" and "Critical Cross", they retained the enthusiasm of "expansionism", paid more attention to the spirit, and inherited the tradition of modernist form creation on the material level, thus remolding the image of China's avant-garde art with a double attack. Gao Brothers' works can be clearly called a kind of "urban art" in China in terms of their cultural pertinence and specific themes, that is, taking the living conditions and value orientation of the city as the background, they express the great changes of modern cities in China and their demands for various problems in the form of behavior, photography and other multimedia. Here, they are more concerned about the truth and falsehood of China's urbanization since the 1990s, rather than the many benefits brought by modern cities, and make an artist's voice with a critical attitude. In other words, the images, misappropriations, patchwork and photographic works created by the actions of the Gao brothers are also determined by the current special historical situation in China.

One kind of Gao brothers' works is to truly record their own life process and original situation, emphasizing the discovery of real records, and the other kind is to get hints from daily life, and to achieve truth by presenting fictional means and strategies, that is, to reconstruct reality with fiction, to supplement reality with fiction, and to emphasize the expression and interpretation of hidden truth from the perspective of the creative subject, that is, to transform different beings into a pure sense of visual form, and to play this sense of situation to a dazzling and frightening degree.

Gao Brothers' art has a spirit of self-concern of intellectuals and souls, which enabled them to embark on a lonely and independent road in the 1990s. Throughout the 1990s, their art extensively dabbled in and exhibited various forms of avant-garde art, including installation art, performance art, conceptual art and other media art experiments. Their real debut was the "Modern Art Exhibition" in the late 1980s 1989. They blew up the symbol of Libido in the art museum to counter the mainstream ideology at that time. From the end of 1980s to Ruizai, they seem to have been on the edge of the times, but one basic main line has not changed, that is, the pursuit of the other side, the criticism of intellectuals, the self-concern for the soul and the pursuit of artistic experiments. Unfinished Mansion (200 1-2005) and Black Space (2005) can be familiar with their representative series of this main line in recent years, and they are also the representative works of the Gao brothers.

Gaoshi brother contemporary art center