Utopia Guide

2020. Oil painting on canvas, camouflage canvas, acrylic, spray paint, paint pen, paper collage. 100×80cm.

Time, History, Why We Fight: Quarantine Become Final Fig Leaf of Nationalism

2020. Pastels, oil pastels, acrylic, paint spraying, Solid Maker, paper collage, oil on canvas. 170×200cm.

Time, History, Why We Fight: Fruits of Earth and Territorial Resource become Friendship and Envoy of Peace

2020. Pastels, oil pastels, acrylic, paint spraying, Solid Maker, paper collage, oil on canvas. 170×200cm.

Time, History, Why We Fight: All the Scars and History Turn into Poem, Poem, Poem

2020. Stamp, watercolor, oil pastels, acrylic, Solid Maker, paper collage,
oil on canvas. 170×200cm.

Time, History, Why We Fight: Woodcutter and Fisheries Questions and Answers, People Buy Munitions in the Cold War Market

2020. Pastels, oil pastels, acrylic, paint spraying, Solid Maker, paper collage, oil on canvas. 170×200cm.

Visual Machine: Treasure Island (New Star War)

2020. Oil on canvas, paint pen, mineral pigment, maker pen, stamp, spray paint, paper collage. 100×80cm.


2020. Silk, gold paint. 168x1700cm.

Kintsukuroi-Camouflage is a kind of anthropomorphic fabric. The pattern and texture explore the subtle differences of varied skin tones. Camouflage not only implies coexistence and cohesion as a material frequently serves for military supplies, but it also implies concealment and conflicts. The application of gold paint in this work originates from the idea of Kintsukuroi for repairing broken historical objects. These golden brushstrokes exude a delicate expression in both implicit convergence and mutual accomplishment. This expression fits into a broader understanding of ethnic communities through means of the anthropomorphic nature of the work.

Cadeau Tropical

2018. Single-channel video, color, sound. 5’00”.

Memoire Crepusculaire

2018. Film still. Single-channel video, color, sound. 10’40‘’.

French Film 1

2017. High-resolution colored video with audio in French and subtitles in Chinese. 37’17“.

Montage of the Photos-Symptom of the Memoir

2017. Film still. High-resolution video, silent. 2’25”.

Western Guest, Marianne Part I

2017. Black iron sculpture. 40×20×20cm.

Western Guest, Marianne Part II

2017. Epson ultra giclée print. 150×90cm.

Roman Nomade and an Unknowjourney-A Brief History of Colonist (Mass of Solomon Islands)

2016. 19th-century postcard. 13.7×9cm.

Roman Nomade and an Unknowjourney-A Brief History of Colonist (Catechists Missionaries of Mary Immaculate-Kumbakonam-Hindoustan-Salam Ophanage)

2016. 19世纪纸本明信片. 13.7×9cm.

Atlas-Fetish about Exotic Culture

2016. Epson ultra giclée print. 100×70cm. Edition: 1-10/10.


Pu Yingwei, (b.1989), Lives and works in Beijing, China. received his BFA from Sichuan Fine art Institute, DNSEP (MFA with Félicitation du jury) from École Nationale Supérieure des Beaux-Arts de Lyon. Pu Yingwei’s work has been defined as an exercise in conceptual art with a strong utopian zeal. He is the artist who interprets the multiple media and identity narratives that he practices in the public sphere as a comprehensive mobilization. Taking personal history as an absolute starting point, with the exhibition, writing, design, lecturing, teaching, and other forms of work, he attempts to produce a kind of “meta-politics” that transcends grand topics such as race, nation, and ethics. Such politics is as complex and full of paradoxes as the reality we experience.

Recent solo exhibitions/projects: Obscure Adventure – Speculative Pop & Pan-Chinesism, SSSSTART, Shanghai (2021); Photoethic: CHINAFRICA, Jimei x Arles International Photo Festival (2020); Time, History, Why We Fight, Hive Center for Contemporary Art, Beijing (2020); Pu Yingwei 1989, Organhaus, Chongqing (2019); Double Empire, Nouvel Institut Franco-Chinois, Lyon (2018); If only it were true, Galerie Sator, Paris (2018); Pu Yingwei and Jim Thompson Architects, J:GALLERY, Shanghai (2017); Roman Nomade, Hive Center for Contemporary Art, Beijing (2017); Recent group exhibitions: 13th Shanghai Biennale: Bodies of Water, Power Station of Art, Shanghai (2021 upcoming); An Archive Seven Trails, Taikang Space, Beijing (2020); Those who see and know all, are all and can do all, 798 Art Center, Beijing (2020); Gold en Flow, CHAO Art Center, Beijing (2020); Being of Evils, Hive Center for Contemporary Art, Beijing (2020); Dance With It, Taikang Space, Beijing (2018); The Comfort Zone At A Distance, Taikang Space-Light Pavilion, Beijing (2018); Frontier: Re-assessment of Post-Globalisational Politics, OCAT Shanghai/OCAT Institute, Shanghai/Beijing (2017-2018); Fiction Art, OCAT Shenzhen, Shenzhen (2018); I Do (not) Want To Be Part Of Your Celebration, Qiao Space & TANK Shanghai Project Space, Shanghai (2017); Reciprocal Enlightenment, CAFA, Beijing (2017).  Recently curated exhibitions: Sino-Wharf from Chinatown to Red Internationalism, OCAT Shenzhen, Shenzhen (2018); He won the John Moores Painting Prize (2012),His article “Empire’s Legacy:On “Pacing: A Journey of 70 years” and its silences” won the second prize of the IAAC ( International Awards for Art Criticism) prize (2019),He has been shortlisted for HuaYu Youth Award (2018),“JIMEI·ARLES Discovery Reward” (2020) and the Gen.T Asian Emerging Pioneers list (2020),His film “Interview” has been shortlisted for Caen Si Cinéma Festival (2018).

In the recent practice, Pu Yingwei temporarily left the erratic identity initiated in the France study periods and turned to the new working background with the split of ideological camp and the return of imperialism. He has extensively studied and continued the visual heritage of socialist realism art and avant-garde art in the 20th century, also he has drawn nutrition from the visual culture of revolutionary art and ideological propaganda, thus forming the unique language system and historical perspective.

Coversation with Pu Yingwei

时间,历史,我们(Why We Fight)——无法决裂的历史

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