Cai Guo-Qiang: I Want to Believe

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Due to the redesign of Guggenheim.org, past exhibitions prior to 2008 are archived externally; visiting these pages will open a new window.
Cai Guo-Qiang, Inopportune: Stage One, 2004

Cai Guo-Qiang, Inopportune: Stage One, 2004. Nine cars and sequenced multichannel light tubes, dimensions variable. Seattle Art Museum, Gift of Robert M. Arnold, in honor of the 75th Anniversary of the Seattle Art Museum, 2006. Exhibition copy installed at Guggenheim Museum Bilbao, 2009

Cai Guo-Qiang: I Want to Believe

March 17–September 20, 2009

Cai Guo-Qiang has literally exploded the accepted parameters of art making in our time. Drawing freely from ancient mythology, military history, Taoist cosmology, extraterrestrial observations, Maoist revolutionary tactics, Buddhist philosophy, gunpowder-related technology, Chinese medicine, and methods of terrorist violence, Cai’s art is a form of social energy, constantly mutable, linking what he refers to as “the seen and unseen worlds.” This retrospective presents the full spectrum of the artist’s protean, multimedia art in all its conceptual complexity. 

Born in Quanzhou, Fujian Province, China, in 1957, Cai studied stage design at the Shanghai Drama Institute. In the 1980s he emerged as a member of the burgeoning experimental art world of China’s postreform era. After moving to Japan in 1986, Cai tapped into a rich vein of international 20th-century art and critical thought. While living there, he mastered the use of gunpowder to create his signature gunpowder drawings and the related outdoor explosion events. These practices integrate science and art in a process of creative destruction and reflect Cai’s philosophy that conflict and transformation are interdependent conditions of life, and hence art. At once intuitive and analytical, his gunpowder drawings and explosion events are intrepid, conceptual, site specific, ephemeral, time based, and interactive—performance art with a new matrix of cultural meaning.

Cai has lived in New York since 1995. While increasing his participation in the global art system of biennials, public celebrations, and museum exhibitions around the world, Cai’s social projects engage local communities to produce art events in remote, nonart sites like military bunkers, a socialist utopianism influenced by Cai’s experience growing up in Mao Zedong’s Red China and during the Cultural Revolution of 1966–76. His recent work has expanded to include large-scale installations, allegorical and sculptural, that recuperate signs and symbols of Chinese culture and expose the dialectics of local history and globalization.

Designed by the artist as a site-specific installation, the Guggenheim’s exhibition presents art as a process that unfolds in time and space, dealing with ideas of transformation, expenditure of materials, and connectivity. The structure of Cai’s art forms are inherently unstable, but his social idealism characterizes all change, however violent, as carrying the seeds of positive creation. Subverting tropes such as East versus West, traditional versus contemporary, center versus periphery, Cai offers a new cultural paradigm for the art of a global age and expands the meaning of the phrase “I want to believe.”

 

Lead Sponsor: The Robert H.N. Ho Family Foundation

Media Partner: Thirteen/WNET

This exhibition is funded in part by the National Endowment for the Arts, and with the generous support of additional individuals and foundations.

Organized by Thomas Krens, Director; Alexandra Munroe, Senior Curator of Asian Art; and Sandhini Poddar, Assistant Curator of Asian Art.


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