{"id":114,"date":"2017-12-20T12:00:00","date_gmt":"2017-12-20T12:00:00","guid":{"rendered":"https:\/\/www.pagodared.com\/blog\/2017\/12\/20\/daniel-krause-art-china-power-images\/"},"modified":"2018-02-13T22:58:36","modified_gmt":"2018-02-13T22:58:36","slug":"daniel-krause-art-china-power-images","status":"publish","type":"post","link":"https:\/\/www.pagodared.com\/blog\/2017\/12\/20\/daniel-krause-art-china-power-images\/","title":{"rendered":"Daniel Krause on Art, China & the Power of Images"},"content":{"rendered":"
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As the north central Regional Resource Librarian at Gensler<\/a>, one of the world\u2019s largest design and architecture firms, Daniel Krause sees a lot of images. It\u2019s his job to source materials and finishes, and curate spaces \u2014 both in the three-dimensional world of built projects and the two-dimensional world of photographs. Despite seeing so much on a daily basis, images still have the power to deeply move him. A trip to the Guggenheim Museum in New York left a lasting and life-changing impression. Daniel \u2014 with his friend and colleague\u00a0D.B. Kim<\/a>, design director in Gensler\u2019s Shanghai office\u00a0\u2014 recently visited\u00a0Art and China After 1989: Theater of the World.<\/em><\/a>\u00a0Here, he shares the experience.<\/p>\n

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Installation view. Art and China after 1989: Theater of the World. Solomon R. Guggenheim Museum, New York. Photo: David Heald.\u00a0\u00a9 Solomon R. Guggenheim Foundation, 2017<\/p>\n<\/div>\n

The Guggenheim gathered works from 71 artists and collectives across China, beginning in 1989, the year of the Tiananmen Square Protests and Massacre, through the Beijing Olympics in 2008.\u00a0 The art brings to life a time of political repression, globalization, individualism and rapid upheaval.<\/p>\n

\u201cThe exhibition had the effect of recentering me,\u201d Daniel explains. \u201cI\u2019ve gone through lots of ups and downs, and seeing how artists and creative people are able to work through their struggles was very moving. Artists speak in a language that\u2019s accessible to everyone.\u201d<\/p><\/blockquote>\n

According to the curators, the exhibition explores the role of artists as\u00a0both \u201ccatalysts and skeptics of the massive changes unfolding around them.\u201d<\/p>\n

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Installation view. Art and China after 1989: Theater of the World. Solomon R. Guggenheim Museum, New York. Photo: David Heald. \u00a9 Solomon R. Guggenheim Foundation, 2017<\/p>\n<\/div>\n

For Daniel, the show brought up memories of his adolescence in rural Missouri. The youngest of six children, Daniel felt simultaneously connected to his family and drawn to a world beyond his immediate surroundings.<\/p>\n

\u201cI would visit my sister in rural Missouri, and look at her magazines \u2014 Vogue<\/em> and Elle<\/em> \u2014 that was my escape,\u201d Daniel recalls. \u201cI remember one summer seeing the cover of\u00a0Time<\/em> with the man standing in front of a row of tanks near Tiananmen Square. I had no idea what it was \u2014 I wasn\u2019t connected to current events. Years later, that image remains with me and the rest of the world. Art tells the story of what happened.\u201d<\/p><\/blockquote>\n

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Installation view. Art and China after 1989: Theater of the World. Solomon R. Guggenheim Museum, New York. Photo: David Heald.\u00a0\u00a9 Solomon R. Guggenheim Foundation, 2017<\/p>\n<\/div>\n

Daniel left his hometown to study interior design. After graduating from\u00a0Southwest Missouri State, he went to work for several renowned textile and design firms, including\u00a0Brunschwig & Fils,\u00a0Cowtan & Tout, Larsen and\u00a0\u2014 eventually\u00a0\u2014 Gensler. Working on projects, including the renovation of PAGODA RED owner Betsy Nathan\u2019s house, Daniel learned how to use Chinese design in the context of modern living.<\/p>\n

\u201cWe\u2019re only supposed to see China through one lens,\u201d Daniel explains, \u201cunless we\u2019re involved in it. Researching Chinese art and design has opened up my curiosity. As we watch China change, even within all the discomfort, things are very hopeful.\u201d<\/p><\/blockquote>\n

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Liu Dan. Splendor of Heaven and Earth. 1994-1995. Ink on paper.<\/p>\n<\/div>\n

The exhibition embodies the full spectrum of ideas and emotions. As the curators explain, \u201cthe artists here have all sought to think beyond China\u2019s political fray and simple East-West dogmas.\u201d Artist Liu Dan, whose intricate ink landscapes contain ancient and modern references, believes that \u201cthe clearer the feeling, the blurrier the image.\u201d In other words, art can hold complex cultural ideas and profound feelings in the same space.<\/p>\n

\u201cSometimes our fear of what we don\u2019t know holds us all back,\u201d Daniel says. \u201cCreative people in China are living with real fear \u2014 but while their art shares their pain, it also opens up new ways to create and communicate.\u201d<\/p><\/blockquote>\n

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Chen Zhen. Precipitous Parturition. 1999. Bicycles, inner tubes and black plastic cars.<\/p>\n<\/div>\n

Another favorite piece is Chen Zhen\u2019s Precipitous Parturition<\/em>, an abstract dragon sculpted from bicycle tires and suspended over the Guggenheim\u2019s atrium.<\/p>\n

\u201cThe dragon is covered in tiny black cars,\u201d Daniel recalls. \u201cIt has to do with the explosion of cars in China, and the transition from bicycles to automobiles brought on by rapid economic growth. The artist took bicycle parts, crumpled them up, and created this amazing analogy for the physical transformation of China\u2019s landscape.\u201d<\/p><\/blockquote>\n

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Ai Weiwei. Dropping a Han Dynasty Urn. 1995. Three black-and-white prints.<\/p>\n<\/div>\n

Other notable moments in the exhibition include Ai Weiwei\u2019s Dropping a Han Dynasty Urn<\/em> \u2014 \u201cHe\u2019s phenomenal at capturing people\u2019s attention,\u201d Daniel says \u2014 and\u00a0Geng Jianyi\u2019s Two Series of Five Steps of Wearing Clothes<\/em>, which Daniel describes as \u201cmuch deeper than what appears.\u201d Rows of photocopied figures in different states of dress explore the tension between individual and collective identities.<\/p>\n

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Geng Jianyi. Two Series of Five Steps of Wearing Clothes. 1991. Cut and pasted photocopies on wood.<\/p>\n<\/div>\n

The exhibition is a testament to art\u2019s resonance and relevance, even years after the work is created. It crosses the barriers of culture, time, and language to tell a story without words.\u00a0As a creator of space and images, Daniel found the exhibition inspiring and applicable to his work.<\/p>\n

\u201cThrough the power of design, I\u2019m really trying to communicate what people see and experience,\u201d he says. \u201cGensler believes that this happens through listening, paying attention to people and not forcing something. By being very tolerant of uniqueness and guiding people towards an expression of something real in space and time, we\u2019re trying to make the world better.\u201d<\/p><\/blockquote>\n

Art and China After 1989: Theater of the World<\/em> is on view at the Solomon R. Guggenheim Museum in New York from\u00a0October 6, 2017 to January 7, 2018, and the accompanying exhibition catalog<\/a> includes over 150 works by iconic and lesser-known Chinese artists and collectives. For more information, visit\u00a0guggenheim.org<\/a>.<\/p>\n

Hero Image:Chen Shaoxiong. 5 Hours. 1993\/2006. DSL Collection.<\/em><\/p>\n

All photos courtesy of Daniel Krause and the\u00a0Solomon R. Guggenheim Museum<\/a>.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

As the north central Regional Resource Librarian at Gensler, one of the world\u2019s largest design and architecture firms, Daniel Krause sees a lot of images. It\u2019s his job to source materials and finishes, and curate spaces \u2014 both in the three-dimensional world of built projects and the two-dimensional world of photographs. 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