[et_pb_section fb_built=”1″ _builder_version=”4.18.0″ _module_preset=”default” background_enable_color=”off” global_colors_info=”{}”][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.18.0″ _module_preset=”default” custom_padding=”100px||||false|false” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” text_font=”Times New Roman|800|||||||” text_text_color=”#51705C” text_font_size=”22px” text_line_height=”2em” custom_margin=”||-1px||false|false” global_colors_info=”{}”]<\/p>\n
Chinese Contemporary Artists<\/p>\n
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Chen Weicai<\/p>\n
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Born in Fujian in 1986, Chen Weicai currently lives and works at the foot of Longquan Mountain in Chengdu. He is a freelance artist, independent curator, Vice President of the Sichuan Sculpture Society, and Founding Director of the Dalang Museum of Contemporary Art.
Chen Weicai\u2019s artistic practice revolves around a profound questioning of the ontological state and the “eternity” of objects. Adhering to the philosophy that\u00a0“all things are for my use, not my possession; I, too, am used by all things,”\u00a0he steps out of the studio to treat urban-rural fringes, forests, rivers, and even ruins as fluid exhibition sites.
He extends sculpture through subversive\u00a0“Institutional Critique.”\u00a0In 2016, he transformed a condemned house in a Shenzhen urban village into the “Dalang Museum of Contemporary Art,” open 24\/7. After the physical structure vanished with demolition in 2018, he relaunched the project in cyberspace in 2020, completing a transformation from physical embodiment to digital nomadism. This appropriation of institutions and space continues in his\u00a02025 solo project in Duolecang, Qinghai:\u00a0Left is the Yellow River (Me A Yo) | Right is the Cliff (Me O Yo). Here, amidst the vast wilderness, he once again borrows the museum system to explore the dialectical relationship between man and nature, the ephemeral and the eternal.
Refusing the constraints of a single medium,\u00a0Chen’s work spans sculpture, painting, video, and installation.\u00a0His practice embodies both a raw, grounded locality and an international perspective. He has been invited to present work at significant venues including the\u00a0UCCA Center for Contemporary Art\u00a0(Beijing),\u00a0Parcours Saint-Germain\u00a0(Paris),\u00a0TransCultural Exchange\u00a0(New York), and\u00a0Kommunale Galerie Berlin. His works have been permanently collected by authoritative institutions such as the\u00a0White Rabbit Gallery\u00a0(Australia)\u2014one of the world’s most significant collections of contemporary Chinese art\u2014as well as the\u00a0GeKA e.V.\u00a0(German-Chinese Culture Exchange Foundation), the\u00a0Shanghai Putuo District Government, and the\u00a0Shenzhen Metro Public Art Project.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2024\/11\/Instagram\u9648\u4f1f\u624d.jpeg” title_text=”Instagram\u9648\u4f1f\u624d” _builder_version=”4.18.0″ _module_preset=”default” border_radii=”on|10px|10px|10px|10px” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.18.0″ _module_preset=”default” background_enable_color=”off” custom_padding=”||100px||false|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” text_font=”Times New Roman|800|||||||” text_font_size=”40px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n
Featured Works<\/p>\n
[\/et_pb_text][et_pb_divider color=”#D6D6D6″ _builder_version=”4.18.0″ _module_preset=”default” width=”20%” module_alignment=”center” custom_margin=”||-1px||false|false” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Untitled: Coal and Powder” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2024\/12\/\u661f\u6c47-\u65e0\u9898\uff1a\u7164\u4e0e\u7c89\u4e2d.jpeg” title_tablet=”Untitled: Coal and Powder” title_phone=”Untitled: Coal and Powder” title_last_edited=”on|desktop” _builder_version=”4.18.0″ _module_preset=”default” header_font=”Times New Roman||||||||” body_font=”Times New Roman||||||||” text_orientation=”center” global_colors_info=”{}”]<\/p>\n
Chen Weicai, <\/span>installation,<\/span> Dimensions Variable, 2014-2024<\/span><\/p>\n [\/et_pb_blurb][et_pb_blurb title=”Parting the Water to See the Stone” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2024\/12\/\u661f\u6c47-\u62e8\u6c34\u89c1\u77f3\u4e2d.jpeg” _builder_version=”4.18.0″ _module_preset=”default” header_font=”Times New Roman||||||||” body_font=”Times New Roman||||||||” text_orientation=”center” global_colors_info=”{}”]<\/p>\n Chen Weicai, Single channel video, 29\u201d, 2024\uff0cAnaguo<\/span><\/p>\n [\/et_pb_blurb][et_pb_blurb title=”Hand and River III” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2024\/12\/\u661f\u6c47-\u624b\u4e0e\u6cb3III\u4e2d.jpeg” _builder_version=”4.18.0″ _module_preset=”default” header_font=”Times New Roman||||||||” body_font=”Times New Roman||||||||” text_orientation=”center” global_colors_info=”{}”]<\/p>\n Chen Weicai, Single channel video, 18\u201d, 2024<\/span><\/p>\n [\/et_pb_blurb][et_pb_blurb title=”Traces of Hand, Shadow of Stone” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2024\/12\/\u661f\u6c47-\u624b\u75d5\u77f3\u5f71\u4e2d.jpeg” _builder_version=”4.18.0″ _module_preset=”default” header_font=”Times New Roman||||||||” body_font=”Times New Roman||||||||” text_orientation=”center” global_colors_info=”{}”]<\/p>\n Chen Weicai, Single channel video, 39\u201d, 2024<\/span><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Chinese Contemporary ArtistsChen WeicaiBorn in Fujian in 1986, Chen Weicai currently lives and works at the foot of Longquan Mountain in Chengdu. He is a freelance artist, independent curator, Vice President of the Sichuan Sculpture Society, and Founding Director of the Dalang Museum of Contemporary Art.Chen Weicai\u2019s artistic practice revolves around a profound questioning of […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-3506","page","type-page","status-publish","hentry"],"yoast_head":"\n