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MA QIUSHA
BEIJING CHINA WORLD

 

"WONDERLAND - SHAPPING TAN" CEMENT, NYLON STOCKING, PLYWOOD, RESIN, STEEL

MA MA QIUSHA WAS BORN IN BEIJING IN 1982. SHE RECEIVED HER BA FROM CENTRAL ACADEMY OF FINE ART, BEIJING AND MFA FROM ALFRED UNIVERSITY, NEW YORK. SHE CURRENTLY LIVES AND WORKS IN BEIJING. HER SOLO EXHIBITIONS WERE HELD AT OCT ART TERMINAL XI’AN; MIDDLESBROUGH INSTITUTE OF MODERN ART, UK; CHINESE ARTS CENTRE, MANCHESTER; ULLENS CENTRE FOR CONTEMPORARY ART, BEIJING; AND TAIKANG SPACE, BEIJING. HER ART HAVE BEEN SHOWN AT INSTITUTIONS INCLUDING DAIMLER CONTEMPORARY, BERLIN; LOS ANGELES COUNTY MUSEUM OF ART; TAI KWUN CONTEMPORARY, HONG KONG; SMART MUSEUM OF ART, CHICAGO UNIVERSITY; PARA/SITE, HONG KONG; CENTRE POMPIDOU, PARIS; THE ZKM, KARLSRUHE; ORANGE COUNTY MUSEUM OF ART, CALIFORNIA; BORUSAN CONTEMPORARY, ISTANBUL; INTERNATIONAL STUDIO & CURATORIAL PROGRAM, NEW YORK; GRONINGER MUSEUM, THE NETHERLANDS; TATE MODERN, LONDOM AND MORE. SHE WAS NOMINATED FOR PROSCHE “YOUNG CHINESE ARTSISTS” (2019), THE PIERRE HUBER PRIZE (2014) AND “YOUNGARTIST OF THE YEAR” BY AWARD OF ART CHINA (AAC) IN 2017 AND 2013.

MA QIUSHA WAS BORN IN BEIJING IN 1982, THE TIME THAT THE SOCIALIST LIFE IN THE COUNTRY WANED OUT AND INDIVIDUALS BEGAN GAINING MORE FREEDOM. WORKING WITH VIDEO, INSTALLATION AND PHOTOGRAPHY, MA MINES, BENEATH THE DRASTIC SOCIAL-CULTURAL TRANSFORMATIONS, IN THE EMOTIONAL DEPTH OF THE PEOPLE’S MEMORY. HER NARRATIVES ARE OFTEN AUTOBIOGRAPHIC, BUT THEY ARE ALWAYS DEEPLY INTERTWINED WITH THAT OF “WOMAN” AS A COLLECTIVE, IN BOTH FAMILIAL AND SOCIAL CONTEXT.

AN OVERARCHING THEME IN MA’S WORKS IS THE INTERGENERATIONAL GAPS, AS SHE OFTEN INJECTS HER ART WITH SYMBOLS OF THE SOCIOCULTURAL TRANSFORMATIONS DURING THE SEVERAL RECENT HIGH-SPEED DECADES. HER "WONDERLAND" SERIES THAT MA BEGAN WORKING ON SINCE 2014. IT IS COMPRISED OF SMASHED CEMENT SLABS OF THE SAME MODEL WRAPPED IN NYLON STOCKINGS IN DIFFERENT SHADES, WHICH ARE THEN REATTACHED INTO NEW BLOCKS. THE COLORFUL STOCKINGS WERE ACCEPTED BY A YOUNGER GENERATION IN THE 80S AND 90S. WHEN PRODUCING THE WORKS, MA USED CLEAR NAIL POLISH TO PATCH THE SNAGS AND TEARS ON THE STOCKINGS—THE PRECISE WAY IN WHICH HER MOTHER USED TO FIX HER STOCKINGS IN A TIME FAR BEFORE THE UBIQUITY OF OVERPRODUCTION. THE BODY AS A BOTH PRIVATE AND COLLECTIVE ENTITY, THE MEMORY AND TEXTURE OF AN INTIMATE OBJECT WORN NEXT TO THE SKIN, AND THE AESTHETICS OF HER GENERATION INTERWEAVE AND MEET IN THIS WONDERLAND.


BEIJING BEIJING CHAOYANG
NO.1 JIANGUOMEN WAI AVENUE
SHOP L102-103 L1
100020


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