Home, 2020, Financial Times stock listings, bamboo and adhesive, dimensions variable
Made from layered newspaper and bamboo, Gordon Cheung’s window installation Home refers to homes in China with traditional window lattice designs that were demolished due to rapid urbanisation. The sculpture hovers between states of being, suggesting a ghost architecture that would have supported the windows. They act as a demarcation between the march of unstoppable progress, and the framework of identity, history and culture that define the individual. Home appeared in Cheung’s fourth solo show with the gallery, Tears of Paradise. This exhibition was the latest in a series in which Cheung witnesses and interprets events surrounding the emergence of China as a twenty-first century global superpower.
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"A monument to Chinese houses razed amid rapid urbanization, the spectral layout provides a window onto a vanished world, with no one left to look out."
-Daniel Culpan, Artforum
Gordon Cheung completed an MA at the Royal College of Art in 2001. Solo exhibitions include Tears of Paradise, Edel Assanti 2020; New Order Vanitas at Ann Norton Sculpture Gardens, USA, 2017; Gordon Cheung at The Whitaker, UK, 2017; Here be Dragons at Nottingham Castle Museum (2016); Altered States at the Arizona State University Art Museum (2010), The Four Horsemen of the Apocalypse at the New Art Gallery Walsall (2009); The Promised Land at Jack Shainman Gallery (2009). Cheung’s work features in numerous public collections worldwide, including Asian Art Museum of San Francisco, The British Museum, The Hirshhorn Museum and Sculpture Garden, Hood Museum of Art, Minneapolis Institute of Art, The Museum of Modern Art, The Whitworth Art Gallery, and The Yale Center for British Art. Cheung lives and works in London.
Interview in Art Review Asia by Mark Rappolt
Critics' Choice in The Financial Times by Jackie Wullschläger
Review in Time Out London by Rosemary Waugh
Critics' Pick in ArtForum by Daniel Culpan
"The windows started to represent, for me, a conceptual demarcation between communism and capitalist communism."
- Gordon Cheung, in conversation with Mark Rappolt, Art Review Asia