过往回顾 | 王韬程 Evelyn Taocheng Wang

In My Room 在我的房间里(2019), 

Antenna Space, Shanghai

展览现场 Installation view

Eight View of Oud-Charlois,No.7，2019

Ink, acrylic rice paper宣纸上 油墨，丙烯酸

46× 104 cm

Eight View of Oud-Charlois,No.5，2019

Ink, acrylic, fabric, on rice paper 宣纸上油墨，丙烯酸，织物

93 × 88 cm

Sensitive Attitude (2019), Friends of S.M.A.K., De Vereniging, Ghent

展览现场 Installation view

展览现场 Installation view

Dolf Henkes Award (2019), TENT, Rotterdam展览现场 Installation view

展览现场 Installation view

展览现场 Installation view

What Is He Afraid Of (2018), KW Institute for Contemporary Art, Berlin展览现场 Installation view展览现场 Installation view

KW press release:

As part of the Pause series, KW presents a new commission by artist Evelyn Taocheng Wang. Wang’s practice emerges from an interest in what constitutes identity and how one’s own body is culturally relative to—and intertwined with—autobiographical structures. For the exhibition, Wangwill present a completely new body of work consisting of two films and an installation of largescale fabrics.

Wang’s works are concerned with processes of transformation, which are translated andnegotiated through various means, whether media or material based. The site-specific installation for KW’s hall redefines the inner part of the exhibition space—utilizing white lengths of fabric reminiscent of hospital room partitions, Wang creates an intimate room-within-a-room, in which the films Hospital Conversation (2018) and Three Versions of Change (2018) are presented.

Hospital Conversation is a video portrait, in which architecture and bodies dissolve into one another in order to define space. Layers of texts, photographs and film reveal a fragmented story about a hospital and the impressions of one of its anonymous patients. The concrete architecture of this inner space is thereby juxtaposed with the contours of the body. In this setting, the body is under constant change through a process of pain and healing. Using the metaphor of a dress, the video tackles subjects around identity and architecture.

The film Three Versions of Change is a result of Wang’s reflections on the various sources and reinterpretations within different cultural contexts of the infamous fairy tale The Frog King. The fairy tale’s different versions all share a close connection to issues of identity change. Although its gender roles are not always assigned clearly, all of the traditional versions are marked with a process-based character.

The moment of transformation from animal to human is always sexually charged—whether manifested in kiss or the brutal act of beheading. Wang’s use of The Frog King as a subject offers space for reflecting on the various metamorphoses inherent in the story. The body as a subject that can be perceived differently by its environment according to its clothes is illustrated in Wang’s presentation of so-called Cheongsam dresses. These traditional items of Chinese clothing were first worn in the 17th century, but their story since then illuminates the various cultural upheavals of China’s history. During the Emperor’s period, they were worn almost exclusively by men, only to be later worn by young female students as a gesture of emancipation. The Cheongsam dress was finally worn by older upper-class women and since the 1930s its style and design is influenced by modern western fashion.

Curators: Maurin Dietrich, Cathrin Mayer

Four Season of Women Tragedy (2017), Galerie Fons Welters, Amsterdam展览现场 Installation view

Save my baby first (2017)

ink, watercolours on rice paper, mounted on rice paper, agnes b dress 宣纸上油墨，水彩，agnes b裙

94 x 176 cm

展览现场 Installation view

Yellow Rose Dress Walking in Graveyard (2017)

ink and acrylic on rice paper, mounted on rice paper, agnes b dress 宣纸上油墨，水彩，agnes b裙

94 x 87 cm

For An Embarrassed Person It is Always Very Difficult To Avoid Embarrassing , Carlos/Ishikawa，London展览现场 Installation view

展览现场 Installation view

Allegory of Transience (2017), De Hallen Haarlem, Haarlem

展览现场 Installation view

展览现场 Installation view

Press release De Hallen Haarlem:

The Chinese artist Evelyn Taocheng Wang (Chengdu, 1981) has made two new installations specifically for her exhibition at De Hallen Haarlem, in which she combines old and contemporary art. The point of departure for Allegory of Transience is her fascination with Dutch painting from the Golden Age.

Evelyn Taocheng Wang has given the title Vanitas to the front room of the Vleeshal. A title that refers to when, while still in China, she became familiar with the vanitas paintings of the Dutch artists of the Golden Age. For a long time, the idea of the Golden Age that she formed during her childhood was synonymous with the entire Western art history. An idea that – upon her arrival in Europe – proved to be at odds with reality. Wang takes this tragicomic anecdote about cultural misunderstanding as the starting point for her new work. Cultural stereotypes, sexual identity, desire and loneliness are important themes in this. The artist always draws on her own subjective experiences in a refined interplay of aesthetic and iconographic vocabularies from East and West. Wang’s struggle with her own sexual identity is the basis for her work in this exhibition and simmersjust below the surface in much of her art. Consequently, in Haarlem she became inspired by the beguinages, which historically fulfilled a social function for single women. In Tulip Garden (2016), which consists of c. 1500 hand-made paper cushions with tulip patterns, she creates a fictional beguinage. This is accompanied by collage drawings in an eclectic Chinese-Western style. Here, Wang evokes an imaginary world of beguines in idyllic gardens.

Two Sights of the Elegant Mysterious Unearthly Princess Kaguya & Her Beggarly Nurtured Aristocratic Life Before She Flies Away With a Shining Ship (2015)

Performance at Stedelijk Museum, Amsterdam

Selected Works

A Hongkong-Dutch Client Licking My Arm during the Massage Treatment (2015)

 Watercolour, pencil, acrylic on rice paper, 

宣纸上水彩，铅笔，丙烯

90 x 96 cm

Sunny Was Doing Foot-massage Under A Wood Stair Decorated With Different Real and False Plants (2015)

Watercolour, pencil, acrylic on rice paper, 

宣纸上水彩，铅笔，丙烯

90 x 96 cm

Yang And Her Pakistani Boyfriend Were Communicating Via Google-Translate on Their Iphone Behind of A Curtain of My Bed-partition (2015)

 Watercolour, pencil, acrylic on rice paper, 

宣纸上水彩，铅笔，丙烯

90 x 96 cm

A Client fainted after Recept Massage Treatment (2015)

 Watercolour, pencil, acrylic on rice paper, 

宣纸上水彩，铅笔，丙烯

90 x 96 cm

Tug boat! Celery and Children on Water (2016) (left) & 

Women and men sitting in metro with Pak Choi (2016) (right)

watercolour, acrylic, ink, pencil, on rice paper  

宣纸上水彩，丙烯，油墨，铅笔

155.5 x 115 cm each

An Indian client wants to have a massage he called it as Black Cloud (2016) (left) & 

I didn’t want to take off my clothes for practicing massage skill (2016) (right)

ink and acrylic on rice paper 

宣纸上丙烯，油墨

96 x 101.5 cm each

Reflection Paper No.1 (2013-2014)

HD video, 

05:28 min, 

based on Eileen Chang’s text selected from Written on Water 

基于张爱玲的文字《流言》

王韬程（b.1981）目前工作生活于荷兰鹿特丹。她的古典绘画、录像和表演大多源于她尤其感兴趣的身份的构造，以及不同文化中身体与自传性结构间的相对关系。

王韬程曾在法兰克福的St?delschule学习，并在De Ateliers担任驻地艺术家（2012-2014）。她曾获得鹿特丹Dolf Henkes奖（2019）、Dorothea von Stetten奖和Volkskrant Beeldende Kunst奖。她曾在KW  - 柏林当代艺术学院、Frans Hals 美术馆 | Hallen Haarlem、卡洛斯 | 石川画廊和Fons Welters画廊举办个展；也参加了第十四届卡塞尔文献展;苏黎世的Manifesta 11;米德尔堡的Vleeshal;施泰德姆施泰德利克博物馆;洛杉矶的Jenny’s举办的群展。王韬程即将于2019年10月在兰斯的Frac Champagne-Ardenne举办个展。

Evelyn Taocheng Wang (b.1981) is an artist who currently lives and works in Rotterdam, the Netherlands. Wang’s work, which traverses painting, drawing, video and performance, emerges from an interest in what constitutes identity and how one’s own body is culturally relative to—and intertwined with—autobiographical structures. 

Wang studied at the St?delschule, Frankfurt and was resident artist at De Ateliers (2012-2014). She has won the Dolf Henkes Prize, Rotterdam (2019) as well as the Dorothea von Stetten Award and the Volkskrant Beeldende Kunst Prize. She has had solo shows at KW – institute for contemporary art, Berlin; Frans Hals Museum | Hallen Haarlem, Carlos|Ishikawa and Galerie Fons Welters and participated in the group shows Documenta14, Kassel; Manifesta 11, Zurich; Vleeshal, Middelburg; Stedelijk Museum Schiedam; Jenny’s Los Angeles. Forthcoming is a solo exhibition at Frac Champagne-Ardenne, Reims in October 2019.

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