Wang Qingsong - BRIC London Thursday, April 14, 2011 | Phillips

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  • Provenance

    Private Collection, London

  • Exhibited

    Macau, Fundaçâo Oriente, Galeria de Casa Garden, 6 September–6 October 2002 (another example exhibited); Wang Qingsong, Romantique: Beijing, Courtyard Gallery, April–May 2004; New York, Salon 94, May–July, 2004 (another example exhibited); Guangzhou, Guangdong Museum of Art, Guangzhou Photo Biennale 2005, January–February 2005 (another example exhibited); Arras, Wang Qingsong in Arras, May–June 2005 (another example exhibited); London, Albion Gallery, Wang Qingsong, 6 June–7 July 2006 (another example exhibited); Memmingen, MEWO Kunsthalle, China: Past, Present and Future, February 2007 (another example exhibited)

  • Literature

    Red Mansion Foundation, Dream 02, 2002, p. 41 (illustrated); Frich, ed., La photographie panaramique, Paris, 2003, pp. xxii–xxiii (illustrated); NY Arts Magazine, vol. 9, no. 7/8 (2004), p. 22 (illustrated); Young Artists from Korea, China and Japan, National Museum of Contemporary Art, Korea, 2004, pp. 150–51 (illustrated); Officina Asia, Bologna, 2004, pp. 168–69 (illustrated); A. Albertini, P. Marella, Out of the Red La Nuova Generazione Emergente dei Fotografi Cinese, Bologna, 2004, pp. 180–81 (illustrated); R. Vine, ‘The Academy Strikes Back’, Art in America, June/July, 2004 (illustrated); ‘Dining Out: Celebrating a “Wild Modernity”’, Guardian, London, 4 October 2004 (illustrated); T. Whisnand, ‘Wang Qingsong: The Viewer and the Viewed’, Eyemazing, issue 5, The Netherlands, Winter 2004, pp. 36–37 (illustrated); H. Du, ‘A Lens on Diversity’, Artlink, Contemporary Art Quarterly, vol. 23, no. 4., 2004, pp. 54–55 (illustrated); A. Kotzan, ‘Reich der Mittel’, Photo Technik International, MAI/JUNI, Germany, 2005, pp. 42–43 (illustrated); S. Bright, Art Photography Now, London, 2005, p. 100 (illustrated); B. Pollack, ‘Enter the Dragon’, Modern Painters, June 2005, pp. 80–83 (illustrated); J. Cuzin and D. Salmon, eds., Ingres, Paris, 2006, pp. 252–53 (illustrated); Museum Moderner Kunst Stiftung Ludwig, ed., Why Pictures Now, Vienna, 2006, pp. 142–43, (illustrated); Digitalis Foto Magazin, Budapest, June 2006, pp. 88–91 (illustrated); Le Monde diplomatique, Deustsche Ausgabe, October 2006, p. 1 (detail illustrated); N. Garcia, ‘Wang Qingsong’, H Magazine, no. 76, September 2006, pp. 74–75 (illustrated); K. Roach, ed., Wang Qingsong, London, 2006, pp. 92–93 (illustrated); ‘The Sunday Review’, Independent on Sunday, London, 24 September 2006, pp. 28–29 (illustrated); M. Field, ‘Naked Capitalism Westem-style Consumerism is Sweeping China’, Courrier Japon, vol. 27, 18 April 2007, pp. 69–70 (illustrated); ‘Portfolio: Qingsong’, Photograph Magazine, Greece, January 2007, pp. 42–43 (illustrated)


China Mansion

Digitally manipulated colour coupler print.
127 x 1205.3 cm (50 x 474 1/2 in).
Signed in Chinese and Pinyin, dated 'Wang Qingsong.2003.' and numbered of 8 lower right. This work is from an edition of 8.

£40,000 - 60,000 


14 - 15 April 2011