Miao Xiaochun
Miao Xiaochun was born in Wuxi, Jiangsu Province, China in 1964. He graduated from CAFA, Beijing, China in 1989 and from Kunsthochschule Kassel, Germany in 1999. In the 1990s, Xiaochun began his experimenting with the relationships between art and advancing technology, but it was not until 2005 that Xiaochun began creating his large-scale digitized works.
As the one of the foremost representatives of Chinese new media art, his extensive body of works parallel each other through the theme of technology as a representation of the present, and classical artwork as the past. His use of contemporary photography is based on the “multiple viewpoints” perspective to pioneer connections between history and the modern world. He successfully uses 3D technology to create upon a 2D image a virtual 3D scene, to transform a still canvas into moving images, concurrently changing the traditional way of viewing paintings and giving a completely new interpretation and significance to a masterpiece of art, especially with the striking use of his idiosyncratic imagination about history and the future. His works add an important example to contemporary negotiations with art history.
Last update on 10-03-2023
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Featured Artworks
Microcosm is a reinvention of Hieronymous Bosch's 15th-century masterpiece, The Garden of Earthly Delights, in which Xiaochun explores the sumptuous landscape of sin and salvation through digital technology.
Mirroring Chinese traditions, Xiaochun makes use of multiple viewpoints throughout the film, bringing the viewer into the scene in an intimate and dynamic way. By adopting multiple perspectives to add another dimension to the scene, Xiaochun addresses the relationship between the various panels where the viewer can look across heaven and hell and back again, creating a dialogue between the panels and offering the ability to discover hidden narratives within the piece.
Microcosm, n.2 Central Panel
2008
3D computer animation
Microcosm is a reinvention of Hieronymous Bosch's 15th-century masterpiece, The Garden of Earthly Delights, in which Xiaochun explores the sumptuous landscape of sin and salvation through digital technology.
Mirroring Chinese traditions, Xiaochun makes use of multiple viewpoints throughout the film, bringing the viewer into the scene in an intimate and dynamic way. By adopting multiple perspectives to add another dimension to the scene, Xiaochun addresses the relationship between the various panels where the viewer can look across heaven and hell and back again, creating a dialogue between the panels and offering the ability to discover hidden narratives within the piece.
Microcosm, n.8 Wing
2008
3D computer animation
Microcosm is a reinvention of Hieronymous Bosch's 15th-century masterpiece, The Garden of Earthly Delights, in which Xiaochun explores the sumptuous landscape of sin and salvation through digital technology.
Mirroring Chinese traditions, Xiaochun makes use of multiple viewpoints throughout the film, bringing the viewer into the scene in an intimate and dynamic way. By adopting multiple perspectives to add another dimension to the scene, Xiaochun addresses the relationship between the various panels where the viewer can look across heaven and hell and back again, creating a dialogue between the panels and offering the ability to discover hidden narratives within the piece.
Microcosm, n.6 Wing
2008
3D computer animation
The Foundry
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Digital Bodies is an online group show curated by Stina Gustafsson, Chloe Diamond, Serena Tabacchi and Marie Chatel featuring works by Cao Fei, Damjanksi, Frenetik Void, Hackatao, Hu Weiyi, Joanne Hastie, Lin Tianmiao, Maurice Benayoun, Miao Xiaochun, Skygolpe, The Fabricant, Travis LeRoy Southworth, and Twistedsister.
“Within the digital realm, the body becomes something we can no longer touch or feel. Often, it stands detached from our actions, forcing us into new ways of associating, observing, and thinking about the body and its relationship to space.
The human body has dominated artistic visions for centuries. With the emergence of new digital instruments comes new ways of exploring what role the body plays in both physical and virtual environments. Fluid boundaries where we alternate between our real and virtual lives imply that our understanding of the body is detached and outdated.
In this exhibition, MoCDA presents artworks that challenge existing notions of the body by exploring the ways in which they are represented across media and how the representation has evolved within a digital sphere. In the first collaboration between the Museum of Contemporary Digital Art and the DSL Collection, presented for CADAF Online 2020, MoCDA seeks to examine the bodily structures that are increasingly challenged and questioned as our daily life is transported, shaped, and augmented by digital technologies.”
(The curators)