2005 Phoebe Installation Exhibition in Tokyo Gallery, Japan.
2004 "Sex, Things, Things and Sex-Things in a Box", Dashanzi Art District.
2003 Phoebe Installation Exhibition, Today Art Museum.
In 2002, "Phoebe came back!" Phoebe's new work exhibition, Beijing Red Gate Gallery.
2000 Phoebe's New Exhibition of Comprehensive Materials, China Museum of Contemporary Art, London, UK.
1999 "the flowing soul", solo exhibition, AAI gallery, Vienna.
1998 "city light", installation exhibition of Phoebe witter gallery.
1997 Phoebe Lighting Installation Art Exhibition, 2006 "Ruins" of School of Asian and African Studies, Kang Sen University, USA.
Australia International Digital Arts Festival
"Milan International Art Fair", Milan, Italy
"Beyond China", Contemporary Art Exhibition, Beijing Art Space, Alario.
"China Consciousness —— Contemporary Revival of Aesthetic Creation", Beijing Today Art Museum.
In 2005, "The Attic of Language", eight cases of female avant-garde art, Beijing, three-quarters gallery.
Transparent box-infinite extension of limited space, contemporary artists joint exhibition, Beijing, Jianwai SOHO.
"The Ideal Book", China Irish Contemporary Photography Exhibition, Shanghai, Yijing Gallery.
2004 "Dream, Confusion and Modern Female Characteristics", exhibition of female artists' works in China Women's Activity Center.
"Traveling Exhibition of Chinese and French Artists' Works", Beijing, Shanghai, Hong Kong and Paris.
2003 "They-Ten Female Artists Joint Exhibition", Beijing Four Seasons Gallery.
2002 Chicago International Art Fair, USA
East Asian Women's Art Festival, Seoul, Korea
"Golden Harvest", China Contemporary Art Exhibition, Zagreb.
From Lausanne to Beijing ——2002 International Fiber Art Biennale of Tsinghua University Academy of Fine Arts, Beijing.
20065438+90' s China Pioneer Artists Information Exhibition, Tomoka Art Museum, Japan.
Paris International Competition Art Fair, France.
Expo 2000 Hanover, Germany
1999 the second international women's art exchange exhibition, Saranrom park, Bangkok, Thailand.
1998 Vienna forest textile art festival won the second prize, lower Austria.
1997 "intuition, experience and concept", three-person installation exhibition, Beijing, Central Academy of Fine Arts Gallery.
1996 "Points and Lines", calligraphy and installation exhibition, Atrium ed Art Museum, Vienna. In her workshop in Beijing 798 factory, Chen Qingqing sewed, knitted and embroidered her silk and linen works in the morning, and made box devices in the afternoon, including installing wires and pipes needed inside, and accurately customized the required box materials and sizes. Her hemp can be sold, and most of the boxes are made by herself. This self-sufficient manual labor made her free and complete in art and life. She successfully used art as an export to release her past sufferings and enrich her inner world now.
Some of Chen Qingqing's works are made of hemp and boxes. There are always some branches and thin strips in her boxes to enhance the sense of space hierarchy. Women's strong feelings all come from the uterus. Put these empty boxes, such as desktop TV sets, windows, tool boxes, suitcases, jewelry or cultural relics display glass cabinets, into symbolic boxes, such as children or incense sticks or crystal beads or heart-shaped boxes, put them on the line and enrich them. Through the broken, incomplete and disorderly arrangement, the artist makes these elements complete at a deeper level, which constitutes the scenes and scenes of physiological scenes.
Hemp is an eternal material, similar to human hair, which will not rot with time. If you expose the clothes containing hemp on your body and shake off the dusty clothes, only hemp will remain. Usually, Chen Qingqing will add dried roses and branches and leaves to silk hemp in his works, or wrap a body like a pupa or cocoon with branches. They hang in the studio, just like natural objects growing from the wall, open and growing, strange and evil. Artists use timeless, soft and sensitive silk and linen materials to make clothes, which contain very detailed emotional and physical experiences.
Chen Qingqing lives in her own studio. She doesn't care much about what is popular in today's society, but thinks about the ultimate proposition of life and art such as life and death. Her early performance art work "My Soul and My Body" hid herself in a pile of exotic flowers and fruits, smelling the sour taste of seafood and experiencing decay. Artists simulate the body as the hiding place of the soul, let the soul escape from the body and feel the freedom of strange life in the process of behavior. The language of her works is very personal, and she basically cares about the context of art history. Art is only a channel for her to obtain the freedom of her soul, and these works are the carrier of her soul loan.
China people have a longer history of using hemp fiber than silk, and there are often traces of hemp in the cultural relics in China. Ramie cloth and linen cloth have always been the staple food materials of ancient Chinese people, reaching its peak in Sui and Tang Dynasties. Chen Qingqing is addicted to the sewing, knitting, knitting and embroidery of silk and hemp, and traces back to the topics of women and history repeatedly through materials, her own hands and modeling. The most famous is the "Mayi" series. It's really not ordinary kung fu to embed dry branches in silk and hemp and put them together carefully. Works such as Hanyi series, Imitation of Women's Wear in Wei, Jin, Southern and Northern Dynasties, and Night have also brought people into a richer experience space. The discovery of materials is an important feature of Chen Qingqing. Whether eating, traveling or shopping, she takes a pair of eyes wherever she goes. No matter what she does, she can always stare at what she needs. She combines materials as material or language into a complete work. Chen Qingqing said: "Materials sometimes seem to have emotions. You pick it up from the garbage and give it a place. It seems to be alive. When you communicate with other materials, its language comes out. The main thing is that people who do it have feelings for them I use the word "they" because I prefer feminine materials. " In fact, these works, including the ready-made materials used, are very feminine, and even make people feel a bit like a mother-in-law telling stories, and every detail is described in detail.
When Chen Qingqing tells, everything should be described in detail, so that people can know many specific and subtle things. It is a woman's nature to be interested in that kind of weaving and enjoy it, so tiny fibers are woven bit by bit. Chen Qingqing said, "Doing those jobs has now become my daily work status. Now I have to do it for a while almost every morning. I think people's daily state is quite good. Not every job has to be done without surprises. Sometimes when you are doing your job, it is comfortable to be as quiet as a farmer doing repetitive work. The works made in this way are also easy to convey to others. " The arrangement of her works seems to have returned to the era of men plowing and women weaving. ...
Whether it is hemp with a long history or other "stolen" materials in life, it has become full of vitality in Chen Qingqing's hands. In her works, a variety of "aura" are connected, whether it is the pursuit of self-soul, the intimacy and sense of belonging of handmade materials, or the charm of inheriting the sense of history, all of which make Chen Qingqing's works more vital.