Key takeaway
- Avant-garde pioneer: Gu Dexin is a major figure in contemporary Chinese art and part of the first wave of avant-garde artists active since the late 1980s.
- International recognition: He was one of the first Chinese artists to exhibit in the West, notably at the Les Magiciens de la Terre exhibition in Paris in 1989.
- Thematic contrasts: His work often explores contradictions, with recurring themes of sensuality and decay.
- Dual tonality: His oeuvre varies between light and dark tones, with the darker pieces marked by aggression, violence, and a distinctive sense of black humor.
The radical art and withdrawal of Gu Dexin
Gu Dexin (b. 1962, Beijing) is a pivotal figure in contemporary Chinese art, known for his provocative installations that confront themes of decay, impermanence, and material transformation. He began painting in the late 1970s during the post-Cultural Revolution liberalization and quickly emerged as a leading voice in China’s avant-garde. Unlike many of his peers who pursued formal education or relocated abroad, Gu chose to remain in Beijing and work independently—an approach that defined his unconventional and uncompromising artistic path.
Active during the '85 New Wave movement—a time of radical cultural reinvention—Gu was part of a generation of artists who broke away from Socialist Realism in favor of experimental and conceptual art. In the 1980s and 1990s, he pushed artistic boundaries further by embracing decomposition and impermanence, allowing his works to disintegrate over time. From 1994 onward, he increasingly incorporated raw meat, fat, and animal parts into his installations.
As a founding member of the New Measurement Group with Wang Luyan and Chen Shaoping, Gu rejected prevailing narratives centered on China’s socialist legacy. Instead, he created confrontational works using rotting fruit, raw meat, and industrial materials such as plastic and toys to challenge traditional aesthetics and evoke visceral reactions. Pieces like 2004.05.09 (composed of toy cars) and 2009.05.02 (a stark installation resembling a cemetery with accusatory texts like “WE KILLED HUMANS”) reflect his resistance to fixed interpretations and his exploration of collective responsibility.
Over time, Gu shifted from surrealist painting to quieter, conceptual installations, culminating in his retirement from the art world in 2009 following 2009.05.02. Though he withdrew from public life, his bold, unsettling works remain influential. Gu continues to live in Hepingli, the Beijing neighborhood where he was born.
From Tradition to Transgression
Gu's early artistic journey was marked by experimentation with traditional styles, exploring expressionism and plein-air landscape painting. However, by his early twenties, his work shifted towards a more radical and unconventional direction. His paintings, watercolors, and embroideries began depicting dystopian scenes filled with sexually suggestive figures, while his blowtorched plastic sculptures evoked human organs. During this period, he also experimented with simple computer animations and crafted grotesque, erotic clay sculptures. Gu gained further attention for his ephemeral installations made from perishable materials like fruit, meat, and animal intestines, which he allowed to decay within exhibition spaces—highlighting the contrast between decomposition and permanence. In protest against peers who commercialized political themes, Gu often filled museum spaces promoting such work with rotting organic matter.
In 1989—amid significant political unrest—Gu debuted his blowtorched plastic works at "China/Avant-Garde" at the National Art Museum of China in Beijing, and later that year at Magiciens de la Terre at the Centre Pompidou in Paris, a landmark moment for contemporary Chinese art on the global stage. In 1995, at the Venice Biennale satellite exhibition "Asiana: Contemporary Art from the Far East", he transformed a Venetian palazzo into a visceral morgue by placing bloody beef chunks in transparent coffins surrounded by red plastic beads. Intended to remain sealed, the coffins were opened after three days due to the overpowering stench, leaving only blood-stained containers behind. In 1998, at "Trace of Existence" in Beijing, Gu arranged 100 kilograms of pig brains on a red tablecloth, hidden beneath another cloth. Though Gu avoids direct interpretation, this work has been viewed as a political critique, with the pig brains symbolizing the leadership of the Chinese state, a target of his ongoing criticism.
Notable works
2004.05.09
This installation consists of mass-produced toy cars, a seemingly ordinary object turned into a compelling and unsettling piece of art by Gu Dexin. The title of the work reflects the exhibition's opening date, a characteristic of Gu's approach to avoid imposing specific meanings on his art. The work critiques the rapid pace of consumerism and industrialization by juxtaposing something playful and commonplace with the seriousness of the installation context. The toy cars likely symbolize the mechanization and dehumanization within modern society, inviting reflection on both childhood innocence and adult societal constructs.
2009.05.02
This was Gu Dexin’s final exhibition before his retirement from the art world. The installation was marked by stark white panels bearing unsettling phrases such as "WE HAVE KILLED HUMANS" and "WE HAVE KILLED CHILDREN," displayed alongside serene images of blue skies on televisions upstairs, creating a jarring contrast. The repetitive and brutal phrases explore themes of collective guilt and violence, confronting the viewer with uncomfortable truths about human nature. It has been described as a "cemetery-like" piece, evoking death, guilt, and loss. The work reflects Gu’s exploration of impermanence and the ephemeral nature of human actions. This installation was later featured in the 2017–2018 exhibition "Art and China after 1989: Theater of the World" at the Solomon R. Guggenheim Museum, showcasing its significant place in contemporary Chinese art.
1989 - "China/Avant-Garde" at the National Art Museum of China
Gu Dexin debuted his blowtorched plastic works at the pivotal "China/Avant-Garde" exhibition in Beijing, a crucial moment for Chinese contemporary art as it marked the first major confrontation with China’s political and cultural past. Gu’s works, made by using blowtorches on plastic, resembled disfigured human organs, offering a critique of societal transformation, decay, and the human condition. These works were part of a larger movement of artists challenging traditional Chinese art and embracing more experimental, conceptual practices.
1995 - "Asiana: Contemporary Art from the Far East" at the Venice Biennale
At this exhibition, Gu created a powerful, visceral installation by transforming a Venetian palazzo into a grotesque morgue. He placed bloody chunks of beef in transparent coffins, surrounded by red plastic beads, mimicking a scene of decay and death. The coffins were intended to remain sealed, but after three days of the meat rotting in the summer heat, the stench became overpowering, leading the exhibition organizers to open the coffins. The resulting installation, with blood-stained coffins left behind, was a stark commentary on the ephemeral nature of life and death and human responsibility. The work is a profound statement on the human condition and our relationship with mortality and decay.
1998 - "Trace of Existence" at Now Studio, Beijing
In this installation, Gu arranged 100 kilograms of pig brains on a red tablecloth, covered by another cloth. This piece is widely regarded as a political critique of Chinese leadership. The pig brains, symbolizing the "heads" of the state, were hidden from view, creating a powerful metaphor about the concealment of power and the dehumanization that often accompanies political rule. While Gu avoided direct interpretation, this work is seen as a pointed criticism of the Chinese government and its leadership, emphasizing themes of control, consumption, and the consequences of power.
These works collectively demonstrate Gu Dexin’s commitment to challenging societal norms, exploring the transient nature of life, and confronting uncomfortable truths through unconventional materials and radical concepts. His art remains a bold critique of both political and cultural systems, leaving a lasting impact on the development of contemporary Chinese art.
Exhibitions and collections
Gu Dexin's exhibitions and works have garnered significant attention both within China and internationally, positioning him as a central figure in the development of contemporary Chinese art. His radical approach to materials, especially perishable and organic substances, as well as his ability to challenge and subvert dominant narratives, have earned him a place in major exhibitions worldwide.
One of Gu’s early landmark exhibitions was "China/Avant-Garde" in 1989, held at the National Art Museum of China in Beijing. This exhibition was one of the first large-scale showcases of avant-garde works in China and marked a critical moment in the evolution of contemporary Chinese art. Gu’s participation, through his controversial blowtorched plastic sculptures, demonstrated the radical transformation of Chinese art during a time of political unrest. It was a pivotal moment that contributed to the growing tensions between Chinese art and the global art scene.
Later in 1989, Gu also participated in "Magiciens de la Terre" at the Centre Pompidou in Paris, a groundbreaking exhibition aimed at presenting a global view of contemporary art. The show introduced many Western audiences to Chinese avant-garde artists, with Gu’s work prominently featured. This exhibition helped solidify Gu’s place on the global art map and brought his radical conceptual art to a wider, international audience.
In 1995, Gu’s work was part of the Venice Biennale’s satellite exhibition, "Asiana: Contemporary Art from the Far East". In this exhibition, he transformed a Venetian palazzo into a visceral morgue, filling transparent coffins with decaying beef surrounded by red plastic beads. The intense decay and overwhelming stench were designed to challenge the audience’s perception of life, death, and the role of art in expressing uncomfortable truths. The piece was intended to remain sealed, but the overpowering odor led to its eventual opening after three days, leaving only blood-stained containers behind, symbolizing both the fragility and the harshness of existence.
In 1998, at "Trace of Existence: A Private Showing of China Contemporary Art '98" in Beijing, Gu created another provocative piece. He arranged 100 kilograms of pig brains on a red tablecloth, hidden under another cloth, offering a subtle political critique. The pig brains, often interpreted as a metaphor for the Chinese leadership, served as a sharp commentary on the political landscape of China at the time. Though Gu typically resists providing direct interpretations of his work, this installation became a significant piece in his oeuvre, underscoring his critique of political power.
Gu’s works were also featured in the "Art and China after 1989: Theater of the World" exhibition at the Solomon R. Guggenheim Museum in New York from 2017 to 2018. This exhibition examined the evolution of Chinese contemporary art in the post-1989 era. Gu’s installation "2009.05.02", with its accusatory texts like “WE KILLED HUMANS,” was prominently displayed, solidifying his place in the global art conversation. The exhibition brought together a wide range of Chinese artists who, like Gu, used their work to challenge and explore themes of decay, transformation, and political responsibility.
Gu Dexin’s works are housed in major collections worldwide. The Ullens Center for Contemporary Art (UCCA) in Beijing hosted a major retrospective titled "Gu Dexin: The Important Thing Is Not The Meat" in 2012, which featured nearly 300 works, some previously unseen, covering a range of media from sculpture to animation. This exhibition demonstrated the breadth of Gu’s artistic practice and his continuous exploration of ephemeral, decomposing materials, and the title itself reflected his focus on exploring meanings beyond the materiality of his art.
Gu’s work is also part of the permanent collection of the Solomon R. Guggenheim Museum, New York, marking a significant milestone in his international recognition. His inclusion in "Art and China after 1989" and the ongoing acquisition of his works highlight the continued relevance of his contributions to contemporary art, particularly in the context of Chinese avant-garde practices.
Other major collections, such as the British Museum in London, have also acquired several of Gu’s works, particularly those engaging with the themes of decay, body politics, and impermanence. These works are part of the museum's growing collection of contemporary Chinese art, which includes influential works from artists of the ’85 New Wave and beyond. Gu’s challenging use of materials and his conceptual approach have made his works highly sought after, not only for their aesthetic power but also for their capacity to provoke thought and conversation on societal, political, and existential themes.
FAQ
Who is Gu Dexin and why is he important in contemporary Chinese art?
Gu Dexin is a key figure in contemporary Chinese art known for his provocative installations that explore decay, impermanence, and material transformation. His work challenges societal norms and has significantly influenced contemporary Chinese art.
What materials does Gu Dexin often use in his installations?
Gu frequently uses perishable materials such as fruit, raw meat, fat, and animal parts in his installations, allowing them to decompose over time. This emphasizes themes of decay and impermanence.
What was the significance of Gu Dexin's 1989 "China/Avant-Garde" exhibition?
The 1989 "China/Avant-Garde" exhibition was a pivotal moment in contemporary Chinese art. It marked one of the first major showcases of avant-garde art in China and signified a departure from traditional socialist art, with Gu presenting blowtorched plastic works that challenged societal transformation and decay.
What is the meaning behind Gu Dexin’s installation "2009.05.02"?
"2009.05.02" is Gu’s final exhibition before retiring in 2009. It featured unsettling phrases like "WE HAVE KILLED HUMANS" and "WE HAVE KILLED CHILDREN," creating a stark commentary on collective guilt and human violence. It explores themes of impermanence and the responsibility of human actions.
How did Gu Dexin incorporate political critique into his artwork?
Gu often used his art as a critique of political power. For example, his 1998 piece "Trace of Existence" is interpreted as a political commentary on Chinese leadership, with pig brains symbolizing the state's leadership and highlighting themes of concealment and dehumanization.
What was Gu Dexin's "Asiana" installation at the 1995 Venice Biennale about?
Gu’s "Asiana" installation at the 1995 Venice Biennale transformed a Venetian palazzo into a grotesque morgue with decaying beef in transparent coffins. The piece symbolized the fragility of life and death, challenging viewers’ perceptions of mortality and human responsibility.
Why did Gu Dexin retire from the art world in 2009?
Gu retired from the art world after his 2009.05.02 exhibition, which encapsulated his themes of decay, impermanence, and collective responsibility. His decision to withdraw marked the end of an era of intense and confrontational art.
Where can you find Gu Dexin’s works today?
Gu Dexin’s works are housed in major international collections, including the Solomon R. Guggenheim Museum in New York, the British Museum, and the Ullens Center for Contemporary Art in Beijing. His art continues to be a significant part of the conversation around contemporary Chinese avant-garde practices.
Selena Mattei
