Looking Back at the 1990s

In the development of Chinese contemporary art, the 1990s represent a period that is frequently discussed yet urgently requires renewed understanding. It was at this historical juncture that sculptor Sui Jianguo embarked on his pivotal transition from figurative sculpture to conceptual exploration. Meanwhile, art historian and critic Yin Jinan, with his profound historical consciousness and critical stance, documented and witnessed the artistic transformations of this era.

In the early 1990s, starting from traditional academic sculpture, Sui Jianguo gradually began incorporating industrial materials, readymades, and spatial structures into his creative practice. Through material experiments such as binding stones with steel bars and embedding nails in rubber, he emphasized the emotional tension inherent in structure itself. His Structure Series (Marble), which embeds natural mountain rocks within industrial iron frames, uses sculptural language to present the tension between tradition and modernity, seeking a place for cultural “roots” within steel structures. These works not only initiated his exploration of structure and perception but also marked the transition of Chinese contemporary sculpture toward conceptualism and installation art.

Meanwhile, as a critic and curator, Yin Jinan deeply engaged with the development of Chinese contemporary art. He proposed critical concepts such as “The New Generation” and “Close Distance,” focusing on the expressions of young artists amidst societal transformation. In 1991, he curated the “New Generation Art Exhibition,” which opened up new discursive spaces for contemporary art. His 1993 publication Knocking at the Door Alone established his sharp and independent critical style, earning him acclaim as a “sensitive yet calm art critic.” Concurrently, he actively contributed to platforms such as Dushu and Art Sky, helping to bring contemporary art into broader public view.

Yin Jinan and Sui Jianguo’s professional relationship spans over three decades. As early as the 1990s, Yin Jinan sensed that the “material voice” in Sui’s works could speak on its own. In 2021, he curated solo exhibition “Sui Jianguo: Writing the Void” and authored its preface, interpreting Sui Jianguo’s sculptures from the philosophical perspective of “writing emptiness with solidity.” He proposed that the sculptures do not directly depict the disappearance of “void,” but rather use tangible elements—such as clay, stone, and structures—to “write” the intangible “void.”