HUANG YONG-PING ::::

“An Italian guard dog called the Neapolitan Mastiff is used to indicate the Italian explorer Amerigo Vespucci. Vespucci is famous for having sailed, in 1502, to the New World, to America, which was named after him. The urine traces left by this dog spontaneously take on the form of the United States of America, and the longest straight-line border in the world stands out from a vertical wall corner. Its mobility contains the characteristics of enlargement and change. It’s an example of all ‘limits’ and ‘borders’.” —Huang Yong-Ping

Ontological paradox as substance, destiny, or language/cultural practice is at the heart of  Huang Yong-Ping’s thought and work. Prominently figuring in the Chinese avant-garde since the eighties and among the most original art on the international scene today, his significant body of work—conceptual projects, happenings, paintings, installations, writings, speeches—is a powerful expression of a profound and unique thinker resisting and rebelling against institutionalized and established orders, be they material or immaterial, political or cultural, artistic or spiritual. His art has been an extremely important source of inspiration for various generations of Chinese, Asian, and global artists over the past two decades. Amerigo Vespucci exposes the very nature of global superpowers by referring to a historical and colonial past.