Through the powerful yellow lettering on blue the word ‘optimism’ on this banner must have been very striking, and have put many on the wrong track.
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These sculptural objects take the artist’s hands as a model, enlarged with a factor of twelve and presented in the colors red, blue, yellow, and white.
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Jannie Regnerus features in her own photographs and films as a neutral figure who, always dressed in the same white shirt with yellow dots, performs small-scale rituals.
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The yellow dots in the snow provided another point of departure for subsequent work, for instance, the piece in which she places white, cotton squares under an apple tree.
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Yellow banners with the text 'made possible in part by the squatter movement' showed up on the façades of former squatter bastions like Paradiso in Amsterdam and Tivoli in Utrecht.
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His books include Mengele's Skull, Forensic Architecture, The Least of all Possible Evils, Hollow Land, A Civilian Occupation, the series Territories 1, 2, and 3, and Yellow Rhythms.
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His books include Mengele's Skull, Forensic Architecture, The Least of all Possible Evils, Hollow Land, A Civilian Occupation, the series Territories 1, 2, and 3, and Yellow Rhythms.
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Brilliant yellow, flaming red, neon pink, royal blue, bright green, gold, silver and glitter - it can rarely be too colourful or varied, flying in the face of all notions of good taste.
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The symbolism of the image Six eventually settled on is multiple: it alludes to the endless choices with which we are confronted on the ‘ladder of life’, the eleven generations that separate the current Six generation from the Jan Six of Rembrandt’s painting, and the audacious ladder-like strokes of yellow paint with which Rembrandt represented the golden brocade running the length of his subject’s red coat.
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Chang has been active in curating Chinese exhibitions since the 1980s: major exhibitions include ‘China’s New Art Post-1989’ (international tour 1993–98), Special Exhibitions for the Sao Paulo International Biennial (1994 and 1996), Hong Kong official participations at Sao Paulo Biennial and Venice Biennial, ‘Power of the Word’ (Taiwan and US tour 1999–2002), the ‘Yellow Box’ series of research projects about contemporary art practice and Chinese aesthetic spaces (since 2004).
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