Yin Xiuzhen


Born Bei­jing, Chi­na 1963

Lives and works in Bei­jing, China

Yin Xiuzhen’s prac­tice is con­cerned with pro­mot­ing con­ver­sa­tions about soci­ety, par­tic­u­lar­ly in her native Chi­na. Influ­enced by the 85 New Wave Move­ment that swept through artis­tic cir­cles in Chi­na dur­ing the mid to late 1980s, she aban­doned tra­di­tion­al oil paint­ing after her grad­u­a­tion from Cap­i­tal Nor­mal Uni­ver­si­ty, Bei­jing in 1989 and began inves­ti­gat­ing the artis­tic poten­tial of installation.

Yin Xiuzhen is known for using sec­ond-hand or recy­cled domes­tic objects and cre­at­ing sculp­tur­al forms that engage with com­mu­nal mem­o­ry, the fragili­ty of the human envi­ron­ment, rapid urban­i­sa­tion, envi­ron­men­tal decline and glob­al­i­sa­tion. Through her inter­ac­tion with these aban­doned’ or scav­enged’ mate­ri­als, Yin Xiuzhen’s work also brings into focus ques­tions of per­son­al and cul­tur­al identity.

Recent exhi­bi­tions include: Yin Xiuzhen, PACE, Hong Kong (2016); Slow Release, Com­mis­sion for Garage Atri­um Series, Garage Muse­um of Con­tem­po­rary Art, Moscow (2016); That Has Been, and May Be Again, Para Site, Hong Kong (2016); Not Ear­ly, Not Late, PACE, Bei­jing (2015); GLASSTRESS 2015, 56th Venice Bien­nale, Palaz­zo Franchet­ti, Venice, Italy (2015); Chi­na 8 – Con­tem­po­rary Art from Chi­na, Rhine, Ger­many (2015); Ope­nART, Ore­bro, Swe­den (2015); The Sys­tem of Objects, Min­sheng Art Muse­um, Shang­hai (2015); China’s Utopia Revis­it­ed: The Ele­phant, Palais de Beaux-arts, Brus­sels (2015); Art Basel, Anna Schwartz Gallery, Hong Kong (2015); Dream­lands, Cen­tre Pom­pi­dou, Paris (2010); and Project 92, The Muse­um of Mod­ern Art, New York (2012).