Cheng Ran
Diary of a Madman
19 Oct 2016 - 15 Jan 2017
“Cheng Ran: Diary of a Madman,” 2016. Exhibition view: New Museum. Photo: Maris Hutchinson /
Cheng Ran, In Course of the Miraculous, 2015 (still). Wide-screen HD film, 5.1 surround sound, color; 468 min. Courtesy the artist, K11 Art Foundation, Erlenmeyer Foundation, and Galerie Urs Meile, Beijing-Lucerne
Lobby Gallery
Lobby Gallery
CHENG RAN
Diary of a Madman
19 October 2016 - 15 January 2017
For his first solo museum exhibition in the United States, Cheng Ran debuts a new multi-video installation in the New Museum’s Lobby Gallery.
Cheng Ran (b. 1981, Inner Mongolia, China) is one of the most promising Chinese artists of his generation. Since 2005, Cheng has been producing film and video works that draw widely from both Western and Chinese literature, poetry, cinema, and visual culture, fabricating new narratives that combine myths and historical events. “Cheng Ran: Diary of a Madman” marks the culmination of his three-month residency at the New Museum, initiated in partnership with K11 Art Foundation.
The exhibition borrows its title from what is widely considered China’s first modern short story, written by Lu Xun in 1918. Just as Lu Xun’s story comprises first-person narratives of a character at the margins of society who gradually turns mad, Cheng’s fifteen new videos take the form of diaristic vignettes that reveal a larger assessment of a foreign place through the eyes of an outsider. As a first-time visitor to the United States, Cheng approaches New York already familiar with iconic and cinematic images of the city, simultaneously intending to find and capture what is typically excluded from such views.
Cheng’s earliest works, shot entirely in the confines of his apartment, attempted to make compelling the ordinary and unspectacular aspects of his immediate environment. Inspired by filmmakers such as Werner Herzog, Jim Jarmusch, and Béla Tarr, Cheng’s subsequent films and videos often registered his curiosity as he observed the overlooked and incongruous aspects of everyday life and chronicled his interactions with remote and historic sites. His new multi-video work, Diary of a Madman (2016), includes imagery from his early morning explorations of New York City streets, a trip to the Staten Island Bay, and a visit to an abandoned psychiatric hospital on Long Island, exposing his sense of estrangement amid his encounters with uncelebrated and obscure facets of the city.
Embracing a long lineage of experimental cinema, Cheng’s new work follows the making of his nine-hour epic In Course of the Miraculous (2015), which imagines the stories behind three real-life mysterious disappearances. These include British mountaineer George Mallory, who went missing while ascending Mount Everest in 1924; artist Bas Jan Ader, who vanished during his 1975 journey across the Atlantic as part of a performance titled In Search of the Miraculous; and the Chinese fishing trawler Lu Rong Yu no. 2682, which in 2011 returned to land after eight months with only one-third of its original crew still alive. With a narrative inspired by fables and mythic literature, Cheng reinterprets the title of Ader’s final work, and in doing so, reflects on his paradoxical pursuit of the inexplicable or unimaginable parts of history. In Course of the Miraculous will be screened on select days in the New Museum Theater.
The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director.
Cheng Ran was born in 1981 in Inner Mongolia, China, and lives and works in Hangzhou, China. His work has been featured in numerous biennials and group exhibitions, including “SALTWATER: a Theory of Thought Forms,” the 14th Istanbul Biennial (2015); “When I Give, I Give Myself,” the Van Gogh Museum, Amsterdam (2015); “Inside China – L’Intérieur du Géant,” chi K11 art museum, Shanghai (2015), K11 Art Foundation Pop-Up Space, Hong Kong (2015), and Palais de Tokyo, Paris (2014); the 8th Shenzhen Sculpture Biennial, China (2014); “ON|OFF: China’s Young Artists in Concept and Practice,” Ullens Center for Contemporary Art, Beijing (2013); the 26th European Media Art Festival, Osnabrück, Germany (2013); and “Video Art in China – MADATAC,” Museo Nacional Centro de Arte Reina Sofía, Madrid (2011). Cheng Ran’s recent solo exhibitions include “In Course of the Miraculous” at the K11 Art Foundation, Hong Kong (2016), and “Cinematheque: Music is On, Band is Gone” at chi K11 art museum, Shanghai, and Galerie Urs Meile, Beijing and Lucerne, Switzerland (2015). His other solo shows have been presented at: Unlimited, Basel, Switzerland (2016); Qiao Space, Shanghai (2016); Armada, Milan (2015); and Leo Xu Projects, Shanghai (2014). Cheng Ran was nominated for the first edition of the OCAT & Pierre Huber Art Prize in 2014 and the Absolut Art Award in 2013, and was named the “Best Video Artist” by the art magazine Radian in 2011.
“Cheng Ran: Diary of a Madman” is co-presented with K11 Art Foundation.
Diary of a Madman
19 October 2016 - 15 January 2017
For his first solo museum exhibition in the United States, Cheng Ran debuts a new multi-video installation in the New Museum’s Lobby Gallery.
Cheng Ran (b. 1981, Inner Mongolia, China) is one of the most promising Chinese artists of his generation. Since 2005, Cheng has been producing film and video works that draw widely from both Western and Chinese literature, poetry, cinema, and visual culture, fabricating new narratives that combine myths and historical events. “Cheng Ran: Diary of a Madman” marks the culmination of his three-month residency at the New Museum, initiated in partnership with K11 Art Foundation.
The exhibition borrows its title from what is widely considered China’s first modern short story, written by Lu Xun in 1918. Just as Lu Xun’s story comprises first-person narratives of a character at the margins of society who gradually turns mad, Cheng’s fifteen new videos take the form of diaristic vignettes that reveal a larger assessment of a foreign place through the eyes of an outsider. As a first-time visitor to the United States, Cheng approaches New York already familiar with iconic and cinematic images of the city, simultaneously intending to find and capture what is typically excluded from such views.
Cheng’s earliest works, shot entirely in the confines of his apartment, attempted to make compelling the ordinary and unspectacular aspects of his immediate environment. Inspired by filmmakers such as Werner Herzog, Jim Jarmusch, and Béla Tarr, Cheng’s subsequent films and videos often registered his curiosity as he observed the overlooked and incongruous aspects of everyday life and chronicled his interactions with remote and historic sites. His new multi-video work, Diary of a Madman (2016), includes imagery from his early morning explorations of New York City streets, a trip to the Staten Island Bay, and a visit to an abandoned psychiatric hospital on Long Island, exposing his sense of estrangement amid his encounters with uncelebrated and obscure facets of the city.
Embracing a long lineage of experimental cinema, Cheng’s new work follows the making of his nine-hour epic In Course of the Miraculous (2015), which imagines the stories behind three real-life mysterious disappearances. These include British mountaineer George Mallory, who went missing while ascending Mount Everest in 1924; artist Bas Jan Ader, who vanished during his 1975 journey across the Atlantic as part of a performance titled In Search of the Miraculous; and the Chinese fishing trawler Lu Rong Yu no. 2682, which in 2011 returned to land after eight months with only one-third of its original crew still alive. With a narrative inspired by fables and mythic literature, Cheng reinterprets the title of Ader’s final work, and in doing so, reflects on his paradoxical pursuit of the inexplicable or unimaginable parts of history. In Course of the Miraculous will be screened on select days in the New Museum Theater.
The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director.
Cheng Ran was born in 1981 in Inner Mongolia, China, and lives and works in Hangzhou, China. His work has been featured in numerous biennials and group exhibitions, including “SALTWATER: a Theory of Thought Forms,” the 14th Istanbul Biennial (2015); “When I Give, I Give Myself,” the Van Gogh Museum, Amsterdam (2015); “Inside China – L’Intérieur du Géant,” chi K11 art museum, Shanghai (2015), K11 Art Foundation Pop-Up Space, Hong Kong (2015), and Palais de Tokyo, Paris (2014); the 8th Shenzhen Sculpture Biennial, China (2014); “ON|OFF: China’s Young Artists in Concept and Practice,” Ullens Center for Contemporary Art, Beijing (2013); the 26th European Media Art Festival, Osnabrück, Germany (2013); and “Video Art in China – MADATAC,” Museo Nacional Centro de Arte Reina Sofía, Madrid (2011). Cheng Ran’s recent solo exhibitions include “In Course of the Miraculous” at the K11 Art Foundation, Hong Kong (2016), and “Cinematheque: Music is On, Band is Gone” at chi K11 art museum, Shanghai, and Galerie Urs Meile, Beijing and Lucerne, Switzerland (2015). His other solo shows have been presented at: Unlimited, Basel, Switzerland (2016); Qiao Space, Shanghai (2016); Armada, Milan (2015); and Leo Xu Projects, Shanghai (2014). Cheng Ran was nominated for the first edition of the OCAT & Pierre Huber Art Prize in 2014 and the Absolut Art Award in 2013, and was named the “Best Video Artist” by the art magazine Radian in 2011.
“Cheng Ran: Diary of a Madman” is co-presented with K11 Art Foundation.