* The works exhibited in Impromptu were produced in Buenos Aires, 2014, in collaboration with students from the National University of Arts and teachers and students of the Municipal Institute of Ceramics of Avellaneda.
The works belong to the artist's collection.
For this exhibition, I set a small but ambitious goal: How can I push myself and improve my gunpowder drawings?
In recent years, I have worked in different places around the world, initiating dialogues with different cultures and peoples through collaboration. By absorbing nutrients from the land I work in, I have perfected a methodology, which has allowed me to create a body of work that revolves around different themes with relative ease and familiarity.
My exploratory journey in Argentina has not been smooth. The more I learn more about the country, the more confused I become; her culture, the integration of immigrants with this piece of land and so forth have made me feel lost and perplexed. As my work here materialized in a more spontaneous and organic manner, the exhibition is titled Impromptu. Sure enough, the gunpowder here is difficult to handle: if I use too little, it does not catch on fire; if I use too much, it ignites with ruthless ferocity. At times, the bricks and cardboard that covered the drawing sizzled when they were cast aside after the explosion! Flames erupted time after time as I watched, and the drawing was set wretchedly ablaze. The outcome was far from what I imagined; after this experience, I cannot help but admit that I do not have great control. Yet secretly I felt both a youthful impetuousness and an irrepressible excitement. It must have been twenty years since I last experienced simultaneously this pain and pleasure! I started to question myself –– why am I afraid of burning holes through the drawing? Don’t the burnt parts add to the presence of the medium itself? I saw more… and it may have opened another door to freedom.
Argentina and her people baffled me, bringing me both anxieties and surprises: the natural landscapes that are completely different from one another; the diverse styles of milongas and dancers; the guidance I received from choreographers and musicologists; along with the assistance and warmth of nearly 100 volunteers from Universidad Nacional de las Artes (UNA) and Instituto Municipal de Cerámica de Avellaneda. Fundación PROA’s courage lies in that they are willing to go on an adventure with me, bearing the consequences of my impromptu works, which may or may not live up to the title of the exhibition. I am like a seed sown on this land, now growing and bearing fruit after absorbing the sunshine, water and love from the people here. Thank you all!
Cai Guo-Qiang
Room 1
Life is a milonga, 2014
Ceramic figurines, music boxes, benches, acrylic and engines
Variable dimensions
“After visiting several milongas, I observed several different types of behaviours: There were people sitting on the sides waiting to join the dance; people walking over to join the dance; and a mélange with people, lights and music of all sorts—dancers grouped in diverse combinations, swaying and moving in tandem. Through this installation work, I hope to express my uncertain yet boundless impressions of the milonga, and the lives of the people in it.
The swaying swings form a relationship with the music boxes, which play La Cumparsita at different speeds, as though they are vocalizing everyone’s thoughts, aspirations and sorrows. Associated with people’s childhoods and fantasies, the swings, too, have an air of mystique. I usually like to use a playful and whimsical way to convey a sad or important theme, and this is an example where I use art as my time-space tunnel to avoid confronting reality head on. It also exemplifies how I consistently pursue art with a relaxed and fun approach.“