MUCHEN AND SHAO YINONG
Muchen, b. 1970, Liaoning, China; Shao Yinong, b. 1961, Qinghai, China. Live and work in Beijing, China.

The artist duo began their work with photography, but has recently explored other mediums such as installation and sculpture. Their practice reflects on the social and political implications of the rapid transformations of China. As they examine the memories of both collective and individuals, they are able to explore the dichotomies of both reality and representation, producing pieces that are nostalgic, dream-like and provocative.
15 May - 30 Aug, 2014
Using the refined technique of traditional Suzhou embroidery, the works create highly detailed yet fragile images – These currencies have become symbols of certain periods in history representing the power and beliefs of political regimes and economic powers which once prevailed but whose time has now well-passed. This series of works have been ten years in the making and have been meticulously created by Suzhou’s most expert embroiderers on sheaths of transparent black silk lending them strength of imagery on an ephemeral and fleeting backdrop.

Opening hours: by appointment only
15 - 18 May, 2014 10 Chancery Lane Gallery
Please come and meet us on booth 1D43 where we will be presenting works by: ATUL DODIYA, DINH . Q. Le, VU DAN TAN, THE PROPELLER GROUP, HUANG RUI, SHAO YINONG & MUCHEN, KONSTANTIN BESSMERTNY and WANG KEPING.
That Hrdaya 2, 2013
15 Apr - 03 May, 2014 10 Chancery Lane Gallery
A Splendid Web from Heaven to Earth is an installation of a giant web flowing delicately from ceiling to the floor. The stainless-steel-made web looks shimmering and inviting from afar. However, as one gets closer, what seems so still and peaceful a moment ago suddenly turns unsettling. The conflicting feeling is a metaphor of the chaos in today’s world. It poses a question to our being, a threat to our sense of existence. The Hrdaya, or literally “Eternal Heart”, is a series of wood works by Shao Yinong. As he takes off the layers of bark of the tree trunk following patterns of its annual rings, the artist uncovers the pagoda-like structure hidden in it. He further fills the cracks of the trunks with ash which is commonly seen in temples in Qinghai area. The installation triggers a religious and spiritual reading into it, inviting the viewers to look into eternity through traces of life.

Also in the exhibition are the photographic work, Webbed by Muchen and a series of etching by Shao Yinong entitled, Objects of Nature. Shao Yinong and Muchen have selected these four series of new works to conclude a stage of their on-going research in the past few years. It also marks the beginning of another journey for the artists, one that leads to a deeper search concerning both the external and internal worlds.
26 May - 28 Aug, 2011
Since the Stars (XING XING, in Chinese) Exhibition of 1979 there have been many moments of struggle for artists in China. A struggle to express themselves through art during times of open attitude and times of closing, traditional thinking and changing times. This exhibition brings together 17 artists’ works that contribute to the ongoing discussion on artistic freedom and expression in China and beyond its borders.
23 Nov - 15 Dec, 2010 10 Chancery Lane Gallery
Within the busy world in which we live there is something to be said about the search of emptiness. The Eastern spiritual mantras allow us to stop and reflect. It allows us to think about life and who we are.
25 Nov, 2005 - 14 Jan, 2006 10 Chancery Lane Gallery
The husband and wife team of Shao Yinong and Muchen in the series entitled, Assembly Halls have traveled to the 23 different provinces in Mainland China and photographed in truth and simplicity the very profound leftovers of the cultural revolution, which spanned between 1966 until 1976. The assembly halls are all different, some are old barns, some renovated into restaurants, and still others into sewing factories. The empty halls devoid of life reek with a ghost-like atmosphere of the past at once nostalgically beautiful and at the same time simmering with the historical intensity of one of China’s most turbulent periods. The halls ring with emptiness and it is in this emptiness that your mind is free to wonder and contemplate the collective memory of a nation’s gathering grounds where billions of people were indoctrinated, judged, and humiliated publicly but at the same time a place that later symbolized ceremonial gatherings such as graduations. Although the rooms are vacant there is a feeling that the crowds have either just left or are just about to arrive.