Everything,is material for reading. In the process of continue explore “How to from seeing to the formation of thoughts, and lastly back to my work, into the art context.” besides the openness has always been need during the process of encounter things, we should also remain openness in sensory ways.

Shape could delivers rhythm, and the image could be seen as words. The rhythm of seeing companied with the rhythm of words reading together to completed the reading. Things are always talking in common expression. Art are also doing such same works.

一切都是閱讀的材料。在繼續探討如何從觀看到思考最後回到工作,進入藝術的語境的工作中除了在遭遇事物的過程中一直需要的開放性之外,還需要在感官途徑上也保持開放性。

形狀可以傳達出節奏,圖像可以以文字的方式被閱讀。視覺的節奏同閱讀文字的節奏共同完成閱讀。事物一直在共同表達中講述。而藝術一直以來也在做這樣的工作。

Guan Xiao (b. 1983) lives and works in Beijing. Her practice focuses primarily on sculpture, video, and installation. Combining a wide array of visual references, Guan Xiao continuously reinvents her biographical details such as identity, personal history, geographical background and the experience of her daily life by inscribing them into her exuberant works. Guan Xiao takes her sculpture and installations as virtual characters or “species” which she imbues with a new, literalized identity. The artist attempts to emphasize the importance of difference by creating purposeful contradictions between the materiality and the concept.

Guan Xiao graduated from the Communication University of China and has exhibited internationally. Her work has been featured at MUDAM (2021); the 34th Bienial de Sao Paulo (2021); Belgrade Biennial (2021); Antenna Space, Shanghai (solo; 2020); Skulpturenpark Cologne (2020); X Museum Triennial (2020); Kunstmuseum Sankt Gallen (2020); Sharjah Art Foundation (2020); Bonner Kunstverein (solo; 2019); Contemporary Art Museum, St. Louis (solo; 2019); Fellbach Triennial, Fellbach (2019); Honolulu Biennial (2019); Migros Museum, Zürich (2019); Anyang Public Art Project, Anyang (2019); Kunsthalle Winterthur (solo; 2018); High Line, New York (2017); the 57th Venice Biennale, Venice (2017); Julia Stoschek Collection, Berlin (2017); M HKA Museum of Contemporary Art, Antwerp (2017); 9th Berlin Biennale, Berlin (2016); Jeu de Paume, Paris (solo; 2016); the K11 Art Foundation, Shanghai (2016, solo); ICA, London (solo; 2016); ZKM, Karlsruhe (2016); Shortlist for Hugo Boss Asia Art Award at Rockbund Art Museum, Shanghai (2015); the 13th Biennale de Lyon: La vie modern, Lyon (2015); Antenna Space, Shanghai (solo; 2015); 2015 Triennial: Surround Audience, New Museum, New York (2015); Daimler Contemporary Berlin (2015); Thyssen-Bornemisza Art Contemporary, Vienna (2015); M HKA Museum, Antwerp (2014); Kraupa-Tuskany Zeidler, Berlin (solo; 2014); 7th Shenzhen Sculpture Biennale, OCT Contemporary Art Terminal, Shenzhen (2012) and National Museum of Contemporary Art, Seoul (2007).

Her work is in the collections of Museum Ludwig, Cologne; Kunstmuseum St. Gallen; Boros Collection, Berlin; Daimler Collection, Stuttgart; Fondazione Sandretto Re Rebaudengo, Turin; Julia Stoschek Collection, Düsseldorf; Rubell Family Collection, Miami among others.