Artist's Bio
Curriculum Vitae
Collection
Bibliography
SELECTED BIBLIOGRAPHY
Artist Books, Writings, and Statements
Interviews
Curated Exhibition Catalogues
Monographic Exhibition Catalogues
Group Exhibition Catalogues
Books
Articles and Essays
By the Artist
Artist Books, Writings, and Statements >>top
1986
“An Important Tactic for Manifesting the Painter’s Concept: A Preliminary Exploration into the Use of ‘Light’ in Expressing the Substance of an Artwork.” Art History and Theory (Beijing) 17 (Spring 1986), pp. 97–99. In Chinese.
1988
Cai Guo-Qiang with You Jindong. “Painting with Gunpowder.” Leonardo (Cambridge, MA) 21, no. 3 (1988), pp. 251–54.
1989
Statements. In Gunpowder Paintings of Cai Guo-Qiang, pp. 1–2, 9, 17, 18, 42. Guilin: Lijang Publishing House, 1989. In Chinese and English.
Cai Guo-Qiang with Takami Akihiko. “From Beijing.” Bijutsu Techo (Tokyo) 609 (May 1989), pp. 130–32. In Japanese.
1990
“Crateres de Meteorites.” In Art Chinoise 1990: Chine Demain Pour Hier, p. 54. Exh. cat. Paris: Les Domaines de l’art et Editions Carte Segrete, 1990. In French.
1991
Statements. In Cai Guo-Qiang. Primeval Fireball: The Project for Projects, unpaginated. Exh. cat. Tokyo: P3 art and environment, 1991. In Japanese and English.
1992
Artist book. Project for Extraterrestrials No. 9 “Fetus Movement II.” Osaka: Nomart Editions, Inc., 1992. With essays by the artist, Sakurai Kazuya, Tatsumi Masatoshi, Serizawa Takashi, and Kurabayashi Yasushi. In Japanese and English.
1994
Calendar of Life. Exh. cat. Nagoya: Gallery APA, 1994. In Japanese and English.
Project for Extraterrestrials No. 10: Project to Add 10,000 Meters to the Great Wall of China. Tokyo: Atelier Peyotl Col, Ltd. with P3 art and environment, 1994. With essays by the artist, Gao Fu, Moriyama Masamichi, Yamashita Rika, Serizawa Takashi, and Konno Yuichi. Includes English supplement by Serizawa Takashi. In Japanese and English.
“Commentary of Works.” In Chaos: Cai Guo-Qiang, ed. Hasegawa Yuko, unpaginated. Exh. cat. Tokyo and Osaka: Setagaya Art Museum and Nomart Editions Inc., 1994. In Japanese and English.
“Project for Extraterrestrials No. 20: Raising a Ladder to the Earth.” In Well-Spring: Messages and Revelations by Contemporary Artists to Animate the Ancient City of Bath, pp. 34–35. Exh. cat. Bath: Bath Festival Trust, 1994.
“Promenade.” In Promenade in Asia, unpaginated. Exh. cat. Tokyo: Shiseido Corporate Culture Department, 1994. In Japanese and English.
Statements. In Cai Guo-Qiang: From the Pan-Pacific, pp. 86, 90, 92, 96, 98, 100, 104, 108–9, 115, 120, 124, 126, 128. Exh. cat. Iwaki: Iwaki City Art Museum, 1994. In Japanese and English.
1996
Statement. In de Rode Poort (The Red Gate), pp. 32, 155, 164. Exh. cat. Ghent: Museum van Hedendaagse Kunst Gent, 1996. In Dutch and English.
1997
“Heaven’s Secrets.” In Promenade in Asia, p. 50. Exh. cat. Tokyo: Shiseido Corporate Culture Department, 1997. In Japanese and English.
“Placid Earth: A Project for the Meeting of Millennia.” In Unbuilt Roads: 107 Unrealized Projects, eds. Hans Ulrich Obrist and Guy Tortosa, unpaginated. Ostfildern-Ruit: Hatje, 1997.
1998
“Wild Flights of Fancy.” In Day Dreaming: Cai Guo-Qiang, pp. 4–17. Exh. cat. Taipei: Eslite Gallery (Cherng Piin), 1998. In Chinese and English.
1999
Artist book. Venice’s Rent Collection Courtyard. Vancouver: Annie Wong Foundation, 1999.
“For Tatsumi and his Comrades—A Practical Dream.” In Dreams, eds. Francesco Bonami and Hans Ulrich Obrist, p. 57. Rome: Fondazione Sandretto Re Rebaudengo, 1999.
2000
“In the Words of Cai Guo-Qiang. Slide Lecture on June 20, 1998.” In Remain in Naoshima: Naoshima Contemporary Art Museum, pp. 150–51. Kagawa Prefecture: Benesse House, 2000. In Japanese and English.
“On the Venice Rent Collection Courtyard.” Avant- Garde Today (Tianjin) 9 (2000), pp. 75–78. In Chinese.
“Projects for Extraterrestrials.” In Cai Guo-Qiang, ed. Fei Dawei, pp. 138–47. Exh. cat. London: Thames & Hudson and Paris: Fondation Cartier pour l’art contemporain, 2000. Editions in French and English.
2002
“Artist’s Writings.” In Dana Friis-Hansen, Octavio Zaya, and Serizawa Takashi, Cai Guo-Qiang, pp. 121–43. London: Phaidon Press Limited, 2002.
“Dragon Runs.” In Cai Guo-Qiang and Iwaki with His Drawing Works 1980–2002, p. 8. Exh. cat. Iwaki: Cai Guo-Qiang Anthology Project, 2002. In Japanese and English.
Statement, in EV+A 2002: Heroes + Holies, pp. 76–77. Exh. cat. Limerick: EV+A, 2002.
“The Frankness of Collecting Maximov.” In Cai Guo-Qiang, p. 40. Exh. cat. Shanghai: Shanghai Art Museum, 2002. In Chinese.
“To My Friends beyond the Horizon.” In Cai Guo-Qiang and Iwaki with His Drawing Works 1980–2002, pp. 112–13.
2003
Curatorial statement. In Echigo-Tsumari Art Triennial, p. 89. Exh. cat. Tokyo: Echigo-Tsumari Art Triennial, 2003. In Japanese and English.
2004
“Cai Guo-Qiang. Light Cycle: Explosion Project for Central Park.” In Cai Guo Qiang. Light Cycle: Explosion Project for Central Park, unpaginated. Exh. cat. New York: Asia Society and Creative Time, 2004.
“Epilogue.” In Cai Guo Qiang. Light Cycle: Explosion Project for Central Park, unpaginated.
“Feng Shui Master and Sheik.” In Cai Guo-Qiang: Man, Eagle and Eye in the Sky, ed. Sharmini Pereira, pp. 92–93. London: Albion/Michael Hue-Williams Fine Art Ltd., 2004.
“Letter to the Children of Siwa.” In Cai Guo-Qiang: Man, Eagle and Eye in the Sky, pp. 38–39.
“Tatsumi and His Ball.” In Cai Guo-Qiang: Man, Eagle and Eye in the Sky, pp. 70–71.
Statement. In The Snow Show, pp. 24–25. Exh. cat. Rovaniemi: Rovaniemi Art Museum, 2004. In Finnish and English.
2005
Cai Guo-Qiang, ed. Cai Guo-Qiang. Taipei: Artist Publishing Co., 2005. With essays by Fei Dawei, Gao Minglu, Ni Tsai-chen, and Lilian Tone, and an interview with Jennifer Wen Ma. In Chinese.
“Dear Young Artist.” Art on Paper (New York) 9, no. 6 (July/Aug. 2005), pp. 12, 40.
“Influence: Today and Tomorrow.” ArtAsiaPacific Almanac (New York), no. 1 (2005–2006), p. 111.
“People’s Republic of China: Virgin Garden: Emersion.” In 51. International Art Exhibition: Participating Countries, Collateral Events, pp. 106–9. Exh. cat. Venice: Fondazione La Biennale di Venezia, 2005. Editions in Italian and English.
2006
“A Letter to Friends in the Media on the Eve of the BMoCA Opening.” In Bunker Museum of Contemporary Art, Kinmen Island: A Permanent Sanctuary for Art in a Demilitarized Zone, p. 158. Exh. cat. Taipei: Kinmen County Government, 2006. Editions in Chinese and English.
“Curatorial Concept.” In Bunker Museum of Contemporary Art, Kinmen Island, pp. 7–8.
“Excerpts from the Curator Speeches at the Opening Ceremony, September 11, 2004.” In Bunker Museum of Contemporary Art, Kinmen Island, pp. 159–61, 163.
“Master’s Program in Contemporary Art Curriculum (Proposal).” Mar. 2002. Yishu: Journal of Contemporary Chinese Art (Taipei) 5, no. 3 (Sept. 2006), pp. 73–74.
“Speaking of Wind Talking of Shadow: Glimpsing the Basic Concept of Wind Shadow from Letters Exchanged between Cai Guo-Qiang and Lin Hwai-min.” In Captured Wind Arrested Shadow: Cai Guo-Qiang and Lin Hwai-min’s Wind Shadow, pp. 97–104. Exh. cat. Taipei: Eslite Gallery (Cherng Piin), 2006. In Chinese and English.
Statement. In Jennifer Wen Ma: Aeolian Garden, pp. 18, 21. Exh. cat. San Gimignano and Siena: Associazione Arte Continua and Gli Ori, 2006. In Italian and English.
Statement. In Cai Guo-Qiang, unpaginated. Exh. cat. Warsaw: Zacheta National Gallery of Art, 2005. In Polish and English.
Statement. In Wu Hung. Shu: Reinventing Books in Contemporary Chinese Art, pp. 26–27. Exh. cat. New York: China Institute in America, 2006.
“Three More Sentences.” In Captured Wind Arrested Shadow, pp. 15–17.
1991
“Cai Guo-Qiang + P3.” In Cai Guo-Qiang. Primeval Fireball: The Project for Projects, unpaginated. Exh. cat. Tokyo: P3 art and environment, 1991. In Japanese and English.
1992
Kobayashi Kenji. “Deeper, Larger and Farther.” Bijutsu Techo (Tokyo) 649 (Jan. 1992), pp. 12–19. In Japanese.
1993
Konno Yuichi. “Cai Guo-Qiang: The Palette of Light that Shoots the Sky.” UR (Tokyo) 7 (Mar. 1993), pp. 5–48. In Japanese.
Serizawa Takashi. “Interview with Cai Guo-Qiang.” Bijutsu Techo (Tokyo) 671 (June 1993), pp. 121–28. In Japanese.
1996
Nakamura Keiko. “The Universalism and Individualism of Art.” Keiko Nakamura Interview Collection, pp. 255–86. Tokyo: Seidosha, 1996. In Japanese.
Takeda Norihito and Takeda Masaaki. “Interview with Cai Guo-Qiang: The Internationalism of Art and the Position of Artists.” Sturm Literary Magazine (Tokyo) 7 (1996), pp. 106–15. In Japanese.
1997
Jolles, Claudia. “Künstler sind wie Kung-Fu-Kämpfer.” Kunst-Bulletin (Zurich) 4 (Apr. 1997), pp. 12–19. In German.
Lutfy, Carol. “Asian Artists in America: Cai Guo-Qiang.” Atelier International (Tokyo) 834 (Mar.–Apr. 1997), pp. 84–91. In Japanese and English.
1998
Han, Dora. “Cai Guo-Qiang on ‘Performance’ in Art.” Dialogue (Taipei) 18 (Sept. 1998), pp. 126–33. In Chinese.
1999
Gao Minglu. “Traces of Gunpowder Explosions.” Dushu (Beijing) 9 (1999), pp. 87–93. In Chinese.
Matt, Gerald. “Gerald Matt in Conversation with Cai Guo-Qiang.” In Cai Guo-Qiang: I Am the Y2K Bug, ed. Gerald Matt, pp. 50–57. Exh. cat. Vienna: Kunsthalle Wien, 1999. In German and English.
2000
Chiu, Melissa. “Off With A Bang: An Interview with Controversial Artist Cai Guo-Qiang.” Postwest (Sydney) 17 (2000), pp. 28–31.
Fei Dawei. “To Dare to Accomplish Nothing. Fei Dawei Interviews Cai Guo-Qiang.” In Cai Guo- Qiang, ed. Fei Dawei, pp. 117–35. Exh. cat. London: Thames & Hudson and Paris: Fondation Cartier pour l’art contemporain, 2000. Editions in French and English.
Huang Du. “Cultural Witchery, Alchemy, and ‘Explosion’.” Avant-Garde Today (Tianjin) 9 (2000), pp. 43–65. In Chinese.
Jouanno, Evelyne. “Cai Guo-Qiang: Between Heaven and Earth.” Flash Art (Milan) 33, no. 214 (Nov.–Dec. 2000), pp. 66–68.
Ujica, Andrei. “A Conversation: Cai Guo-Qiang and Andrei Ujica.” In Cai Guo-Qiang, ed. Fei Dawei, pp. 81–88.
Wu Hung. “On ‘Rent-Collecting House’: An Interview with Cai Guo-Qiang.” Sculpture (Beijing) 21 (2000), pp. 8–11. In Chinese.
2001
Luo Rong. “Interview with Cai Guo-Qiang.” Design Trends (Shanghai) 5/6 (Nov. 2001), pp. 115–27. In Chinese.
Sans, Jérôme. “Interview.” In Arte all’Arte: Arte Architettura Paesaggio, pp. 54–56. Exh. cat. San
Gimignano and Siena: Associazione Arte Continua and Gli Ori, 2001. In Italian and English.
2002
Demattè, Monica. “Half Empty, Half Full: A Conversation with Cai Guo-Qiang.” In Cai Guo-Qiang, pp. 26–37. Exh. cat. Trento: Galleria Civica di Arte Contemporanea, 2002. In Italian and English.
Demattè, Monica. “The Art of Catching the Void.” Work (Trento) 1, no. 3, (Oct.–Dec. 2002), pp. 14–15. In Italian and English.
Sans, Jérôme. “Light Your Fire.” In Cai Guo-Qiang: An Arbitrary History, pp. 45–59. Exh. cat. Lyon: Musée d’Art Contemporain de Lyon and Milan: 5 Continents Editions srl, 2002. In French and English.
Zaya, Octavio. “Octavio Zaya in Conversation with Cai Guo-Qiang.” In Dana Friis-Hansen, Octavio Zaya, and Serizawa Takashi, Cai Guo-Qiang, pp. 6–35. London: Phaidon Press Limited, 2002.
2004
Chiu, Melissa. “Interview.” In Cai Guo Qiang. Light Cycle: Explosion Project for Central Park, unpaginated. Exh. cat. New York: Asia Society and Creative Time, 2004.
2005
Caballero, David Rodríguez. “East-West-East.” In Cai Guo-Qiang: On Black Fireworks, pp. 104–31. Exh. cat. Valencia: Institut Valencià d’Art Modern, 2005. In Spanish and English.
Goodbody, Bridget. “No Introductions Necessary.” ArtAsiaPacific (New York) 45 (Summer 2005), pp. 42–45.
Ma, Jennifer Wen. “I Wish It Never Happened.” In Cai Guo-Qiang: Inopportune, pp. 54–69. Exh. cat. North Adams, Massachusetts: MASS MoCA, 2005.
McCoy, Michelle. “An Interview with Cai Guo-Qiang, Curator of the China Pavilion, Virgin Garden:
Emersion.” Yishu: Journal of Contemporary Chinese Art (Taipei) 4, no. 3 (Sept. 2005), pp. 36–38.
Tanguy, Sarah. “Conversation with Cai Guo-Qiang: Fire Medicine.” Sculpture (Washington, D.C.) 24,
no. 4 (May 2005), pp. 32–37.
2006
Goodbody, Bridget. “Outside Chance: Cai Guo-Qiang claims air rights at the Met.” Time Out New York (New York) 553, May 4–10, 2006, p. 66.
Grigoteit, Ariane. “The River of Time: Of Lions, Wolves, and Dogs.” Visuell (Frankfurt am Main) (2006), pp. 182–87. In German and English.
Huang Xiao-wei and Yi Pei-fang. “No Destruction, No Construction: Interview between Cai Guo-Qiang and Cai Kang-Yong.” INK Literary Monthly (Taipei), 40 (Dec. 2006), pp. 22–49. In Chinese.
Lin Hwai-min. “Cai Guo-Qiang vs. Lin Hwai-min: The Chance Meeting and Formation of Wind Shadow.” In Captured Wind Arrested Shadow: Cai Guo-Qiang and Lin Hwai-min’s Wind Shadow, pp. 18–33. Exh. cat. Taipei: Eslite Gallery (Cherng Piin), 2006. In Chinese and English.
Maruta Nobuko. “Interview with Cai Guo-Qiang.” COOL Creators’ Infinite Links (New York) (2006), pp. 12–23. In Japanese and English.
Roundtable discussion. “Long March Yan’an Forum on Art Education.” Yishu: Journal of Contemporary Chinese Art (Taipei) 5, no. 3 (Sept. 2006), pp. 18–60. Transcribed from Chinese to English by Philip Tinari, Fiona He, and Huong Trieu.
Shaughnessy, Jonathan. “Cai’s Tour: An Interview with Cai Guo-Qiang about Cai Guo-Qiang: Long Scroll.” In Cai Guo-Qiang: Long Scroll, pp. 48–79. Exh. cat. Ottawa: National Gallery of Canada, 2006.
Serizawa Takashi. “Like a Small Child Building Firecrackers: Interview with Cai Guo-Qiang.” ARTiT (Tokyo) 11, vol. 4, no. 2 (Spring/Summer 2006), pp. 30–41. In Japanese and English.
2007
Grande, John K. “Shock and Awe: An Interview with Cai Guo-Qiang.” Yishu: Journal of Contemporary Chinese Art (Taipei) 6, no. 1 (Mar. 2007), pp. 39–44.
Kakizaki Takao. “Light Passage: Interview with Cai Guo-Qiang.” In Light Passage: Cai Guo-Qiang & Shiseido, pp. 32–37. Exh. cat. Tokyo: Shiseido Corporate Culture Department, 2007. In Japanese and English.
Curated Exhibition Catalogues >>top
2002
Cai Guo-Qiang’s Maximov Collection. Beijing: Central Art Academy, 2002. With a statement by the artist and essays by Cao Qing Hui, Fan Di’An, and Wang Mingxian. In Chinese.
2003
Cai Guo-Qiang, ed. Kiki Smith: Pause. Tokyo: Dragon Museum of Contemporary Art, 2003. With essay by James Putnam. In Japanese and English.
2006
Bunker Museum of Contemporary Art, Kinmen Island: A Permanent Sanctuary for Art in a Demilitarized Zone. Taipei: Kinmen County Government, 2006. With essays by the artist, Chiang Bo-wei, Bridget Goodbody, Nan Fang-Shuo, Ni Tsai-Chin, and James Putnam. Editions in Chinese and English.
Captured Wind Arrested Shadow: Cai Guo-Qiang and Lin Hwai-min’s Wind Shadow. Taipei: Eslite Gallery (Cherng Piin), 2006. With essays by the artist and Lin Hwai-min. In Chinese and English.
Jennifer Wen Ma: Aeolian Garden. San Gimignano and Siena: Associazione Arte Continua and Gli Ori, 2006. Statement by the artist and Jennifer Wen Ma. In Italian and English.
Kinmen Children’s Bunker Museum of Art. Taipei: Kinmen County Government, 2006.
About the Artist
Monographic Exhibition Catalogues >>top
1991
Cai Guo-Qiang. Primeval Fireball: The Project for Projects. Tokyo: P3 art and environment, 1991. With statements by the artist and essays by Serizawa Takashi, Takami Akihiko, and Takagishi Michiko. In Japanese and English.
1994
Cai Guo-Qiang: From the Pan–Pacific. Iwaki: Iwaki City Art Museum, 1994. With statements by the artist and an essay by Hirano Akihiko. In Japanese and English.
Hasegawa Yuko, ed. Chaos: Cai Guo-Qiang. Tokyo and Osaka: Setagaya Art Museum and Nomart Editions Inc., 1994. With statements by the artist and essays by Chen Ri Sheng and Hasegawa Yuko. In Japanese and English.
1997
Cai Guo-Qiang. Cultural Melting Bath: Projects for the 20th Century. New York: Queens Museum of Art, 1997. With essays by Jane Farver and Reiko Tomii.
Cai Guo-Qiang: Flying Dragon in the Heavens. Humlebaek: Louisiana Museum of Modern Art, 1997. With essays by Geremie R. Barmé and Anneli Fuchs. In Danish and English.
1998
Day Dreaming: Cai Guo-Qiang. Taipei: Eslite Gallery (Cherng Piin), 1998. With essays by the artist and Tatsumi Masatoshi. In Chinese and English.
1999
Matt, Gerald, ed. Cai Guo-Qiang: I Am the Y2K Bug. Vienna: Kunsthalle Wien, 1999. With essays by Rosa Martínez, Michael Wenzel, and Hasegawa Yuko, and an interview with Gerald Matt. In German and English.
2000
Fei Dawei, ed. Cai Guo-Qiang. London: Thames & Hudson and Paris: Fondation Cartier pour l’art contemporain, 2000. With an essay by Fei Dawei and interviews with Fei Dawei and Andrei Ujica. Editions in French and English.
2002
Cai Guo-Qiang. Shanghai: Shanghai Art Museum, 2002. With essays by the artist, Hasegawa Yuko, Ni Tsai-Chin, Zhang Qin, and Zeng Qing Hui. In Chinese.
Cai Guo-Qiang and Iwaki with His Drawing Works 1980–2002. Iwaki: Cai Guo-Qiang Anthology Project, 2002. With statements by the artist. In Japanese and English.
Cai Guo-Qiang. Trento: Galleria Civica di Arte Contemporanea, 2002. With essays by Fabio Cavallucci, Hou Hanru, and Pier Luigi Tazzi, and an interview with Monica Demattè. In Italian and English.
Cai Guo-Qiang: An Arbitrary History. Lyon: Musée d’Art Contemporain de Lyon and Milan: 5 Continents Editions srl, 2002. With essays by Fei Dawei, François Jullien, Jan Hoet, Nanjo Fumio, Thierry Raspail, and Wang Mingxian, and an interview with Jérôme Sans. In French and English.
Cai Guo-Qiang’s CHADO Pavilion: Homage to Tenshin Okakura. Hakone-machi, Kanagawa-ken: The Hakone Open-Air Museum, 2002. With essays by Matsumura Toshio and Tatehata Akira. In Japanese and English.
Cai Guo-Qiang: Day Dreaming. Shanghai: Yishu Shijie Magazine, 2002. In Chinese.
2003
Stringa, Nico. Terrecotte Cinesi: Dalla 48th Biennale di Venezia. Nove: Museo Civico della Ceramica, 2003. With essays by Francesca Dal Lago, Britta Erickson, Nico Stringa, Harald Szeemann, and Alessio Tasca. In Italian and English.
2004
Cai Guo Qiang. Light Cycle: Explosion Project for Central Park. New York: Asia Society and Creative
Time, 2004. With essays by the artist, Melissa Chiu, and Peter Eleey.
2005
Cai Guo-Qiang: Life Beneath the Shadow. Edinburgh: The Fruitmarket Gallery, 2005. With essays by Fiona Bradley, Hasegawa Yuko, and James Robertson.
Cai Guo-Qiang: Inopportune. Wilmington: MASS MoCA, 2005. With essays by Laura Heon and Robert Pogue Harrison, and an interview with Jennifer Wen Ma.
Cai Guo-Qiang: On Black Fireworks. Valencià: Institut Valencià d’Art Modern, 2005. With essays by Consuelo Císcar Casabán, David Rodríguez Caballero, Lilian Tone, Vincente Valero, and Wu Hung and interview with David Rodríguez Caballero. In Spanish and English.
Cai Guo-Qiang. Warsaw: Zacheta National Gallery of Art, 2005. With statements by the artist and essays by Maria Brewinska and Jean-Luc Nancy. In Polish and English.
2006
Cai Guo-Qiang: Head On. Frankfurt am Main: Deutsche Bank AG, 2006. With essays by Dan Cameron, Ariane Grigoteit, Lao Zhu, and Nicholas Mirzoeff. Editions in German and English.
Cai Guo-Qiang: Long Scroll. Ottawa: National Gallery of Canada, 2006. With an essay and interview by Jonathan Shaughnessy.
Cai Guo-Qiang: Transparent Monument. Milan: Edizioni Charta, 2006. With an essay by David Ross.
2007
Higuchi Masaki and Iseki Yu, eds. Light Passage: Cai Guo-Qiang & Shiseido. Tokyo: Shiseido Corporate Culture Department, 2007. With essays by Fukuhara Yoshiharu, Kakizaki Takao, and Sugawara Norio, and an interview with Kakizaki Takao. In Japanese and English.
2008
Cai Guo-Qiang: I Want to Believe. New York: Solomon R. Guggenheim Museum, 2008. With essays by Alexandra Munroe, David Joselit, Miwon Kwon, and Wang Hui. In English.
Cai Guo-Qiang: I Want to Believe. Beijing: The People’s Press, in association with CICE and the Solomon R. Guggenheim Museum, 2008. With essays by Alexandra Munroe, David Joselit, Miwon Kwon, and Wang Hui. In Chinese.
The 7th Hiroshima Art Prize: Cai Guo-Qiang. Hiroshima: Hiroshima City Museum of Art, 2008. With essays by Osawa Masachi, Gianfranco Maraniello, and Suhama Motoko. In Japanese and English.
The 7th Hiroshima Art Prize: Cai Guo-Qiang. Hiroshima: Hiroshima City Museum of Art, 2008. With essay by Kamiya Yukie and interview with Asada Akira. In Japanese and English.
2009
Cai Guo-Qiang: I Want to Believe. Bilbao: Guggenheim Bilbao, 2009. With essays by Alexandra Munroe, David Joselit, Miwon Kwon, and Wang Hui. In Spanish.
Group Exhibition Catalogues >>top
1989
Tama-River Fussa Outdoor Sculpture Exhibition, unpaginated. Fussa: Tamagawa Fusa Yagi Bijutsu
tenji mukyoku, 1989. In Japanese and English.
1990
Art Chinoise 1990: Chine demain pour hier, pp. 52–55. Paris: Les Domaines de l’art et Editions Carte Segrete, 1990. In French.
1992
Japan Ushimado International Art Festival, unpaginated. Ushimado: Ushimado International Art Festival, 1992. In Japanese and English.
1994
Watanabe Seiichi, ed. Mito Annual ’94: Open System, pp. 42–48, 63–67, 72, 75–76. Mito: Art Tower Mito Contemporary Art Center, 1994. In Japanese and English.
Promenade in Asia, unpaginated. Tokyo: Shiseido Corporate Culture Department, 1994. In Japanese and English.
Well-Spring: Messages and Revelations by Contemporary Artists to Animate the Ancient City of Bath, pp. 14–15, 34–35, 44. Bath: Bath Festival Trust, 1994.
1995
Contemplation: ’95 Joong-ang Biennial Special Exhibition, pp. 74–75, 80–83, 150. Seoul: Ho-Am Art Museum, 1995. In Korean and English.
Art In Japan Today: 1985–95, pp. 48–53, 154–55. Tokyo: Museum of Contemporary Art, 1995. In Japanese and English.
Heart of Darkness, pp. 11, 15, 70–71, 84–97, 201. Otterlo: Kröller-Müller Museum, 1997.
TransCulture: La Biennale di Venezia 1995, pp. 15, 22–23, 72, 76–77, 99–104, 181. Tokyo: The Japan Foundation and Fukutake Science and Culture Foundation, 1995. In Japanese and English.
1996
Between Earth and the Heavens: Aspects of Contemporary Japanese Art II, ed. Yamawaki Kazuo, pp. 10–15, 26–28, 34–37, 59–62. Nagoya: Nagoya City Art Museum, 1996. Editions in Japanese, English, and Spanish.
de Rode Poort (The Red Gate), pp. 32–35, 155, 164, 172–73. Ghent: Museum van Hedendaagse Kunst Gent, 1996. In Dutch and English.
The Hugo Boss Prize 1996, pp. 51–59. New York: Guggenheim Museum, 1996.
Michelsen, Anders and Octavio Zaya. Interzones: A Work in Progress, pp. 90–97. Copenhagen: Kunstforeningen Copenhagen, 1996.
The Second Asia-Pacific Triennial of Contemporary Art, pp. 36, 58–59, 128. Brisbane: Queensland Art Gallery, 1996.
Universalis: 23rd International Biennial São Paulo, pp. 230–35. São Paulo: Fundação Bienal de São Paulo, 1996. In Portuguese and English.
1997
Performance Anxiety, pp. 14, 38–41, 71, 79. Chicago: Museum of Contemporary Art, 1997.
Promenade in Asia, pp. 36–51. Tokyo: Shiseido Corporate Culture Department, 1997. In Japanese and English.
1998
Elliott, David and Pier Luigi Tazzi, eds. Wounds: Between Democracy and Redemption in Contemporary Art, p. 134. Stockholm: Moderna Museet, 1998. In Swedish and English.
Gao Minglu, ed. Inside Out: New Chinese Art, pp. 13–14, 33–34, 71–72, 186–88. San Francisco: San Francisco Museum of Modern Art and New York: Asia Society Galleries, 1998.
Nemiroff, Diana, ed. Crossings, pp. 86–93, 188. Ottawa: National Gallery of Canada, 1998.
Palmer, Alice and Maudie Palmer. Remanence, pp. 16–17, 38. Melbourne: Melbourne International Festival of the Arts, Limited, 1998.
Site of Desire: 1998 Taipei Biennial, pp. 50–53, 194, 204. Taipei: Taipei Fine Arts Museum, 1998. In Chinese and English.
1999
Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art, pp. 196–97, 268. Brisbane: Queensland Art Gallery, 1999.
Hiriya in the Museum: Artists’ and Architects’ Proposals for Rehabilitation of the Site, pp. 110–15. Tel Aviv: Tel Aviv Museum of Art, 1999. In Hebrew and English.
Kunst Welten im Dialog von Gauguin zur Globalen Gegenwart, pp. 390–93, 517, 560. Cologne: Museum Ludwig, Köln, 1999. In German.
Panorama 2000: Art in Utrecht Seen from the Dom Tower, pp. 36–39. Amsterdam: Centraal Museum, 1999. In Dutch and English.
Zeitwenden Ausblick, pp. 66–69. Cologne: Dumont and Kunstmuseum Bonn, 1999. In German.
2000
Issey Miyake: Making Things, pp. 52–53, 94–99, 170. Paris: Fondation Cartier and Actes Sud, 2000. Editions in French and Japanese.
Martínez, Rosa. Looking for a Place, pp. 32–33, 46–47, 114, 121. Santa Fe: SITE Santa Fe, 2000.
Morin, France, ed. The Quiet in the Land, Everyday Life, Contemporary Art and Projeto Axé, pp. 100–5. Bahia: Museu de Arte Moderna da Bahia, 2000. In Portuguese and English.
Outbound: Passages from the 90’s, pp. 28–33, 110. Houston: Contemporary Arts Museum, Houston, 2000.
Over the Edges, pp. 54–57, 275–76. Ghent: Stedelijk Museum voor Actuele Kunst, 2000. In Flemish and English.
Varnedoe, Kirk, ed. Modern Contemporary: Art at MoMA Since 1980, pp. 484, 513, 550. New York: Museum of Modern Art, 2000.
Whitney Biennial: 2000 Biennial Exhibition, pp. 68–69, 232, 260. New York: Whitney Museum of American Art, 2000.
2001
Arte all’Arte: Arte Architettura Paesaggio, pp. 48–71. San Gimignano and Siena: Associazione Arte Continua and Gli Ori, 2001. In Italian and English.
Feuer, pp. 586–600. Bonn: Kunst und Ausstellungshalle der Bundesrepublik Deutschland GmbH, 2001. In German.
Sonsbeek 9: LocusFocus, pp. 28–30. Arnhem: Stichting Sonsbeek, 2001. In Dutch and English.
Ulmer, Sean. Uncommon Threads: Contemporary Artists and Clothing, pp. 12, 48. Ithaca: Herbert F. Johnson Museum of Art, 2001.
2002
EV+A 2002: Heroes + Holies, pp. 76–77. Limerick: EV+A, 2002.
International Triennale of Contemporary Art: Yokohama 2001, pp. 90, 164–65, 376, 390. Yokohama: The Organizing Committee for Yokohama Triennale, 2001. In Japanese and English.
Malerei ohne Malerei, pp. 92–97, 140–42. Leipzig: Museum der bildenden Künste, 2002. In German and English.
Morgan, Jessica, ed. Pulse: Art, Healing and Transformation, pp. 89–91. Göttingen: Steidl and Boston: Institute of Contemporary Art, 2003.
Paris-Pékin, pp. 66–67. Paris: Chinese Century and Ullens, 2002. In Chinese, French, and English.
Tokachi International Contemporary Art Exhibition: Demeter, pp. 33–40, 126, 158, 169, 179, 187–88. Tokyo: Tokachi International Contemporary Art Exhibition Committee, 2002. In Japanese and English.
Wu Hung. The First Guangzhou Triennial. Reinterpretation: A Decade of Experimental Chinese Art (1990–2000), pp. 404–5. Guangzhou: Guangdong Museum of Art, 2002.
2003
Alors, la Chine?, pp. 124, 398, 409, 446–47. Paris: Éditions du Centre Pompidou, 2003. Editions in French and English.
Echigo-Tsumari Art Triennial, pp. 89–90. Tokyo: Gendai Kikaku-shitsu, 2003. In Japanese and English.
Somewhere Better Than This Place: Alternative Social Experience in the Spaces of Contemporary Art, pp. 125–27, 211. Cincinnati: Contemporary Arts Center, 2003.
2004
Hug, Alfons, ed. 26th Bienal de São Paulo, pp. 278–83, 317. São Paulo: Fundação Bienal de São Paulo, 2004. In Portuguese and English.
The Snow Show, pp. 22–29. Rovaniemi: Rovaniemi Art Museum, 2004. In Finnish and English.
2005
Arte all’Arte 2005: Arte Architettura Paesaggio, pp. 34–41. San Gimignano: Associazione Arte Continua. In Italian and English.
51. International Art Exhibition: Participating Countries, Collateral Events, pp. 106–9. Venice: Fondazione La Biennale di Venezia, 2005. Editions in Italian and English.
Platow, Raphaela. Dreaming Now, pp. 32–37, 72–73. Waltham: Rose Art Museum of Brandeis University, 2005.
Zhang Zhaohui. Where Heaven and Earth Meet: Xu Bing and Cai Guo-Qiang, pp. 10–15, 20–43, 51–53, 62–63. China: Timezone 8 Limited, 2005.
2006
Wu Hung. Shu: Reinventing Books in Contemporary Chinese Art, pp. 26–27. New York: China Institute in America, 2006.
2007
Artempo: Where Time Becomes Art, pp. 91, 99. Ghent: MER.Paper Kunsthalle, 2007.
2008
God & Goods: Spirituality and Mass Confusion. Cordoipo: Villa Manin Centro d’Arte Contemporanea , 2008. With essays by Francesco Bonami and Sarah Cosulich Canarutto.
Foster, Elena, and Rowan Watson, eds. Blood on Paper. London: Ivory Press, 2008. In English.
Yee, Lydia, and Francesco Manacorda. Martian Museum of Terrestrial Art, pp. II, 165, 217. London: Barbican Art Gallery in association with Merrell Publishers, 2008. In English.
King, Alice. New Ink Art: Innovation and Beyond, pp. 18, 228–231, 234. Hong Kong: School of Professional and Continuing Education, The University of Hong Kong, 2008. In Chinese and English.
Academia. Qui es-tu?, p. 159. Ghent: MER.Paper Kunsthalle, 2008. In English.
1989
Gunpowder Paintings of Cai Guo-Qiang. Guilin: Lijang Publishing House, 1989. With statements by the artist. In Chinese and English.
1998
Goldberg. RoseLee. Performance: Live Art since 1960, p. 60. New York: Harry N. Abrams, 1998.
Kastner, Jeffrey, ed. Land and Environmental Art, pp. 132, 247. London: Phaidon Press Limited, 1998.
1999
Ni Tsai-Chin. No Destruction, No Construction: Bombing Taiwan Museum of Art. Taichung: Taiwan Museum of Art, 1999. With statements by the artist and Ni Tsai-Chin. In Chinese and English.
2000
Asian Collection 50: From the Collection of the Fukuoka Asian Art Museum, pp. 40–41. Fukuoka: Fukuoka Asian Art Museum, 2000. In Japanese.
Fresh Cream: Contemporary Art in Culture, pp. 172–77. London: Phaidon Press Limited, 2000.
Remain in Naoshima: Naoshima Contemporary Art Museum, pp. 140–51, 238, 244–45, 249. Okayama-ken: Benesse House, 2000. In Japanese and English.
2001
Developing the Collection: Acquisitions 1999–2001, p. 51. Canberra: National Gallery of Australia, 2001.
2002
Dana Friis-Hansen, Octavio Zaya, and Serizawa Takashi. Cai Guo-Qiang. London: Phaidon Press Limited, 2002.
Hou Hanru. On the Mid-Ground, pp. 54–63, 64–73, 74–89, 92–101. Hong Kong: Timezone 8 Limited, 2002.
2003
Elderfield, John, ed. Visions of Modern Art: Painting and Sculpture from The Museum of Modern Art, pp. 2, 305–6. New York: Museum of Modern Art, 2003.
2004
MoMA Highlights: 350 Works from The Museum of Modern Art, New York, p. 362. New York: Museum of Modern Art, 2004.
Pereira, Sharmini, ed. Cai Guo-Qiang: Man, Eagle and Eye in the Sky. London: Albion/Michael Hue-Williams Fine Art Ltd., 2004. With essays by the artist, Jennifer Wen Ma, Sharmini Pereira, and James Putnam.
2005
Collection Art Contemporain, p. 98. Paris: Éditions du Centre Pompidou, 2007. In French.
Sollins, Marybeth, ed. Art: 21. Art in the Twenty-First Century, 3, pp. 46–57, 226, 230. New York: Art21, Inc. and Harry N. Abrams, Inc., 2005.
Vitamin D: New Perspectives in Drawing, pp. 48–49, 337. London: Phaidon Press Limited, 2005.
1989
Sanda Haruo. “A Fierce Battle between Two Matters.” Mainichi Newspaper (Japan), Mar. 14, 1989, evening edition. In Japanese.
1990
Chiba Shigeo. “Fireworks at Mount St. Victoire: Chinese and Japanese Art.” Mainichi Newspaper (Japan), Sept. 10, 1990, evening edition, p. 6. In Japanese.
Fei Dawei. “Art in Chine demain pour hier.” Yishujia (Taipei) 184 (Sept. 1990), pp. 165–74. In Chinese.
1991
Kuroda Raiji. “The Future of Presenting ‘Asian Art:’ Thoughts on Asian Contemporary Art.” The Shin
Bijutsu Shinbun (Japan) 608, July 1, 1991. In Japanese.
Suzuki Soshi. “The Future Tense of Art: Launching of 21st Century Art: Cai Guo-Qiang, China’s E.T..” Bijutsu Techo (Tokyo) 636 (Apr. 1991), pp. 202–14. In Japanese.
1993
Konno Yuichi. “Marching Towards the Light in the Sky: Cai Guo-Qiang.” UR (Tokyo) 7 (Mar. 1993), pp. 5–32. In Japanese.
Wu Mali. “Explosion Art of Cai Guo-Qiang.” Yishujia (Taipei) 215 (Apr. 1993), pp. 237–44. In Chinese.
1994
Friis-Hansen, Dana. “Cai Guo-Qiang at the Iwaki City Art Museum.” Art in America (New York) 82, no. 11 (Nov. 1994), p. 144.
Sugawara Norio. “The Year in Art ’94: Striking Rise of Asia: Cai Guo-Qiang Very Active, Decline of Euro-American ‘Contemporary’ [Art].” Yomiuri shinbun (Japan), Dec. 14, 1994, evening edition, p. 11. In Japanese.
1995
Kurabayashi Yasushi. “Cai Guo-Qiang: A Marvelous Chinese Alchemist.” In Listen to Contemporary
Art: Music and Contemporary Art in the 20th Century, pp. 209–41. Tokyo: Sky Door. In Japanese.
Poshyananda, Apinan. “From Hybrid Space to Alien Terrirory.” In TransCulture: La Biennale di Venezia 1995, pp. 69–78. Exh. cat. Tokyo: The Japan Foundation and Fukutake Science and Culture Foundation, 1995.
Zhang Yuan-qian. “Order in Chaos: Cai Guo-Qiang, a Phenomenon in Japan.” Hsiung Shih Art Monthly (Taipei) 296 (Oct. 1995), pp. 58–65. In Chinese.
1996
Cotter, Holland. “A SoHo Sampler: Short List for Prize.” New York Times, Friday, Nov. 22, 1996, p. C26.
Serizawa Takashi. “Chia Yu Kuan.” In Moving on This Planet, pp. 67–88. Tokyo: Iwanami Shoten, 1996. In Japanese.
Zaya, Octavio. “Cai Guo-Qiang.” Flash Art (Milan) 29, no. 190 (Oct. 1996), p. 103.
1997
Cotter, Holland. “Playing to Whoever In Distant Galaxies.” New York Times, Aug. 15, 1997, p. C24.
Gao Qian-hui. “The Ark of Genghis Khan: The Analysis of Cai Guo-Qiang’s Art Methodology and Eastern Aesthetics.” Artists Magazine (Taipei) 263 (Apr. 1997), pp. 322–29. In Chinese.
Johnson, Ken. “Eyes on the Prize.” Art in America (New York) 85, no. 4 (Apr. 1997), pp. 41–45, 135.
Lufty, Carol. “Flame and Fortune.” Artnews (New York) 96, no. 11 (Dec. 1997), pp. 144–47.
Schwabsky, Barry. “Tao and Physics: The Art of Cai Guo-Qiang.” Artforum International (New York) 35,
no. 10 (Summer 1997), pp. 118–21, 155.
Tokui Reiko. “Cai Guo-Qiang’s Solo Exhibition: Cultural Melting Bath.” The Shin Bijutsu Shinbun (Japan), Sep. 21, 1997, p. 1. In Japanese.
Wu Xiao-fang. “A Remedy for the Cultural Melting Bath: Cai Guo-Qiang’s ‘Cultural Melting Bath: Project for the 20th Century’.” Mountain Art (Taipei) 91 (Oct. 1997), pp. 51–54. In Chinese.
Yu Hsiao-Hwei. “Cai Guo-Qiang Discusses Where the Budget Comes from, Where the Work Goes.” Cans Chinese Art News (Taipei) (Nov. 1997), pp. 74–86, cover. In Chinese.
1998
Chang Bo-shun. “Ignition of Taiwan Province Museum of Art: Fire Dragon Climbing Dragon Columns.” United Daily News (Taiwan) (Aug. 22, 1998), p. 5. In Chinese.
Cheng Nai-ming. “Powerful Explosion: Cai Guo-Qiang’s Art Power.” Liberty Times, May 28, 1998, p. 39. In Chinese.
Chian Li-an. “Explode One Second into Eternity: Behind the Scenes of Cai Guo-Qiang’s Explosion Art.” Arts Circle Magazine (Taipei) 3 (July 1998), pp. 12–15. In Chinese.
Goodman, Jonathan. “Cai Guo-Qiang.” ArtAsiaPacific (Sydney) 18 (1998), p. 92.
Heartney, Eleanor. “Cai Guo-Qiang at the Queens Museum of Art.” Art in America (New York) 86, no. 1 (Jan. 1998), p. 93.
Hsu Hui-Ling. “Taiwan Province Museum of Art Was Exploded into Spectacular Beauty.” Central Daily News (Taiwan), Aug. 22, 1998, p. 5. In Chinese.
Huang Bao-ping. “Taiwan Province Museum of Art: Explode Infinite Energy in 50 Seconds.” Min Shen News (Taiwan), Aug. 22, 1998, p. 19. In Chinese.
Huang Du. “Cai Guo-Qiang: From Mystery and Philosophy to Reality.” ArtAsiaPacific (Sydney) 20 (Fall 1998), pp. 58–61.
Kelmachter, Hélène. “Hervé Chandès presente Cai Guo-Qiang.” Connaissance des Arts (Paris) 554 (Oct. 1998), pp. 78–79. In French.
Murdock, Robert. “The Explosive Drawings of Cai Guo-Qiang.” Drawing (New York) 19, no. 4 (Summer 1998), pp. 127–29.
Nemiroff, Diana. “Crossings”. In Crossings, ed. Diana Nemiroff, pp. 13–41. Exh. cat. Ottawa: National Gallery of Canada, 1998.
Tsai Mei-juan. “Stunningly, Cai Guo-Qiang Explodes His Work.” United Daily News (Taiwan), May 22, 1998, p. 14. In Chinese.
Zheng Gong-xian. “Reverse Thinking of Two Events in Taiwanese Art World: Taipei Fine Arts Museum
Advertising Castle and SuHo Paper Culture Museum.” Art of Collection (Taipei) 72 (Sept. 1998), pp. 24–30. In Chinese.
1999
Gao Minglu. “Traces of Gunpowder Explosions.” Dushu (Beijing) 246 (Sept. 1999), pp. 87–93. In Chinese.
Heartney, Eleanor. “Children of Mao and Coca-Cola.” Art in America (New York) 87, no. 3 (Mar. 1999), pp. 42–47.
Hsu Wen-rwei. “Subject of Desire: The 1998 Taipei Biennial.” ArtAsiaPacific (Sydney) 22 (1999), pp. 25–27.
Huang Qiang-fang. “Conversing with the Spirit of the Universe.” Art of Collection (Taipei) 77 (Feb. 1999), pp. 172–77. In Chinese.
Madoff, Steven Henry. “All’s Fair.” Artforum International (New York) 38, no. 1 (Sept. 1999), pp. 145–55, 184, 190.
Takami Akihiko. “Cai Guo-Qiang.” Bijitsu Techo (Tokyo) 768 (Mar. 1999), pp. 9–43, cover. In Japanese.
Thea, Carolee. “Prismatic Visions: An Interview with Rosa Martínez.” Sculpture (Washington, D.C.) 18, no. 6 (July–Aug. 1999), pp. 32–37.
Vetrocq, Marcia E. “The Venice Biennale: Reformed, Renewed, Redeemed.” Art in America (New York)
87, no. 9 (Sept. 1999), pp. 82–93.
Zaya, Octavio. “Cai Guo-Qiang.” Grand Street (New York) 18, no. 3, 67 (Winter 1999), pp. 120–25, cover.
Zhang Chao-hui. “Where Heaven and Earth Meet: Cai Guo-Qiang and Xu Bing.” Jiangsu Art Monthly
(Jiangsu) 218 (Feb. 1999), pp. 11–14. In Chinese.
2000
Allen, Jane Ingram. “Participatory Works: Viewers as Co-Creators.” Sculpture (Washington, D.C.) 19, no. 1 (Jan.–Feb. 2000), pp. 73–75.
Dal Lago, Francesca. “Open and Everywhere: Chinese Artists at the Venice Biennale.” ArtAsiaPacific (Sydney) 25 (2000), pp. 24–26.
Dal Lago, Francesca. “Chinese Art at the Venice Biennale: 1. The Virtual Reality of Chinese Contemporary Art.” In Chinese Art at the End of the Millennium: Chinese-Art.com 1998–1999, ed. John Clark, pp. 158–66. Hong Kong: New Art Media Limited, 2000.
Demattè, Monica. “Chinese Art at the Venice Biennale 2. Chinese Art…It’s dAPERTutto!” In Chinese Art at the End of the Millennium, pp. 167–74.
Ebony, David. “Who Owns ‘The People’s Art’?” Art in America (New York) 88, no. 10 (Oct. 2000), p. 51.
Eckholm, Erik. “Cultural Revolution, Chapter 2: Expatriate Artist Updates Maoist Icon and Angers
Old Guard.” New York Times, Aug. 17, 2000, pp. E1, E6.
Erickson, Britta. “Cai Guo-Qiang Takes the Rent Collection Courtyard from Cultural Revolution Model Sculpture to Winner of the 48th Venice Biennale International Award.” In Chinese Art at the End of the Millennium, pp. 184–89.
He Wan-li. “From ‘Fountain’ to ‘Venice Rent Collection Courtyard’.” Contemporary Artists (Sichuan), 19 (Nov. 2000), pp. 32–34. In Chinese.
Hikosaka Naoyoshi. “History of Japanese Contemporary Art in the 1990s.” SAP (Saison Art Program) (Tokyo) 2 (Jan. 2000), pp. 36–62. In Japanese.
Huang Du. “Cai Guo-Qiang.” In Chinese Art at the End of the Millennium, pp. 182–3.
Morin, France. “The Quiet in the Land: Everyday Life, Contemporary Art, and Projeto Axé.” Art Journal
(New York) 59, no. 3 (Fall 2000), pp. 4–17.
Napack, Jonathan. “Chinese Artists May Sue Venice Biennale, 1999 Appropriation of a 1965 Socialist Realist Work Causes Anger.” Art Newspaper (London), Sept. 1, 2000, p. 3.
Peng De. “Obsessed ‘Venice Rent Collection Courtyard’.” Contemporary Artists (Sichuan) 19 (Nov. 2000), pp. 30–31. In Chinese.
Wang Guan-yi. “Three Queries on the Work of ‘Venice Rent-collecting House.” Sculpture (Beijing) 21 (2000), pp. 6–7. In Chinese.
Wang Lin. “Comments on ‘Venice Rent Collection Courtyard’.” Contemporary Artists (Sichuan) 19 (Nov. 2000), pp. 28–29. In Chinese.
Wen Shan. “Old Problems, New Problems: Venice Rent Collection Courtyard.” Artscircle (Shanghai) 151–52 (Sept.–Oct. 2000), pp. 79–83. In Chinese.
Zhang Zhi-ming. “Copyright Issues of Large Scale Sculpture ‘Rent Collection Courtyard’.” Zhou Mo Zhuan Kan (China), July 21, 2000, p. 8. In Chinese.
Zhou Jing-luo. “Explode Art on the Catwalk.” Huasheng Monthly (Beijing) 61 (Apr. 2000), pp. 78–81. In Chinese.
2001
Erickson, Britta. “The Rent Collection Courtyard Breached Oversees: Sichuan Academy of Fine Arts Sues Venice Biennale.” In Chinese Art at the Crossroads: Between Past and Future, Between East and West, ed. Wu Hung, pp. 52–55. Hong Kong: New Art Media Ltd., 2001.
Gao Minglu. “Cai Guo-Qiang.” In The Century’s Utopia: The Trends of Contemporary Chinese Avant-Garde Art, pp. 245–51. Taipei: Artist Publishing Co., 2001. In Chinese.
Garnett, Daisy. “How Is Your Feng Shui?” Visuell (Frankfurt am Main) (2001), pp. 17–20. In German and English.
In Zhi. “Cai Guo-Qiang: Play Art Well.” Art World (Shanghai) 138 (Nov. 2001), pp. 8–15. In Chinese.
Li Xiangyang. “Cai Guo-Qing and Ni Tsai-Chin’s Collaboration in Tuscany.” Art and Collection (Taipei) 110 (Nov. 2001), pp. 168–69. In Chinese.
Lu, Sheldon. “The Uses of China in Avant-Garde Art: Beyond Orientalism.” In China, Transnational Visuality, Global Postmodernity, pp. 173–92. Stanford: Stanford University Press, 2001.
Tong, Jinghan. “Maksimov’s Impact on the History of Chinese Art.” Art China (Shanghai) (Feb. 2002), pp. 66–71. In Chinese.
Zheng Huihua. “Two-Sided Cai Guo-Qiang.” Art China (Shanghai) 1 (Dec. 2001), pp. 76–79. In Chinese.
Zhu Qi. “We Are Too Sensitive When It Comes to Awards! Cai Guo-Qiang and the Copyright Infringement Problems Surrounding Venice’s Rent Collection Courtyard.” In Chinese Art at the Crossroads, pp. 56–65.
2002
Bartelik, Marek. “Cai Guo-Qiang: Shanghai Art Museum.” Artforum International (New York) 40, no. 10 (Summer 2002), p. 189.
Berque, Augustin. “Pour que naquît ce paysage.” In Charbonneaux, Anne-Marie and Norbert Hillaire. Oeuvre et lieu, pp. 18–34. Rotolito: Flammarion, 2002. In French.
Cavallucci, Fabio. “When Art Takes Part in Society.” Work (Trento) 1, no. 3 (Oct.–Dec. 2002), pp. 11–13. In Italian and English.
Fei Dawei. “How to Write an Arbitrary History.” Art & Collection (Taipei) 113 (Feb. 2002), pp. 59–61. In Chinese.
Gao Minglu. “Painting” Made by and for the Mythical: Cai Guo-Qiang’s “Gunpowder Drawings.” In Malerei ohne Malerei, pp. 92–97, 140–42. Exh. cat. Leipzig: Museum der bildenden Künste, 2002. In German.
Hasegawa Yuko. “Transcending the Time & Space, Roaring at the Universe.” Art & Collection 113, pp. 46–52. In Japanese.
Heartney, Eleanor. “Cai Guo-Qiang: Illuminating the New China.” Art in America (New York) 5 (May 2002), pp. 92–97, cover.
Ho Chun-rui. “Cai Guo-Qiang Creates Explosion Work ‘Transient Rainbow’ for MoMA.” Cans Chinese Art News (Taipei) 57 (Aug. 2002), p. 16. In Chinese.
Huang Xiu-fang. “The Artist Using Land As His Stage: Cai Guo-Qiang.” People’s China (Tokyo) 592 (Oct. 2002), pp. 52–55. In Japanese.
Itoi, Kay. “Making a Splash.” Newsweek (New York) special edition (Fall–Winter 2002), pp. 76, 77.
———. “Hakone, Japan. Cai Guo-Qiang.” Sculpture (Washington, D.C.) 21, no. 10 (Dec. 2002), p. 83.
Jhiratori Masao. “Cai Guo-Qiang: The Artist Who Uses the Universe as His Stage.” In Dreaming People, pp. 90–100. Osaka: Eastern Publishing, 2002. In Japanese.
Jodidio, Philip. “Cai L’alchimiste.” Connaissance des Arts (Paris) 590 (Jan. 2002), pp. 118–23. In French.
Katai Miki. “Cai Guo-Qiang’s CHADO Pavilion.” PR Weekly (Tokyo), May. 27, 2002, p. 194. In Japanese.
Leydier, Richard. “Cai Guo-Qiang.” ArtPress (Paris) 275 (Jan. 2002), pp. 81–82. In French.
Lin Chien-hsiu. “Playful Sophistication: A Sketch of Cai’s First Solo Show in China.” Art & Collection 113, pp. 62–65. In Chinese.
Matsumura Toshio. “Cai Guo-Qiang’s CHADO.” Open-Air (Tokyo) (July 2002), pp. 2–7. In Japanese.
Ni Tsai-Chin. “Cai Guo-Qiang’s Legend in Taiwan.” Art & Collection 113, pp. 53–58. In Chinese.
Qing Ya-jun. “Counterattack Mainland China and Also Liberate Taiwan: Bunker Museum of Contemporary Art.” Art Today (Taipei) 119 (Aug. 2002), pp. 72–75. In Chinese.
Reed, Arden. “’Living Well’ on Naoshima.” Art in America (New York) 9 (Sept. 2002), pp. 54–59.
Schench, Sabrina. “Two Offerings by Cai.” Work 1, no. 3, pp. 8–10. In Italian and English.
Takashima, Miki. “Collaboration Takes Tea Ceremony Back to Its Roots.” The Daily Yomiuri (Japan), Saturday, June 22, 2002, p. 13.
2003
Chou Dong-hsiao. “Amazement in the September Sky of New York.” Artist Magazine (Taipei) 339 (Aug. 2003), pp. 102–5. In Chinese.
Cotter, Holland. “Public Art Both Violent and Gorgeous.” New York Times, Sept. 14, 2003, Arts & Leisure, section 2, pp. 1, 33.
Fujimori Manami. “Cai Guo-Qiang.” Bijitsu Techo (Tokyo) 833 (Apr. 2003), pp. 149–53. In Japanese.
Furukawa Mika. “Cai Guo-Qiang.” Bien (Tokyo) 22 (Sept.–Oct. 2003), pp. 4–9. In Japanese.
Ho, Heather. “Cai Guo-Qiang’s Fiddled Art and Amusing Life.” Chinese Art (Beijing) 4, no. 33 (2003), pp. 14–27. In Chinese.
Hou Hanru. “Artistes Chinois, Diaspora et Art Global.” In Alors, la Chine?, pp. 396–400. Exh. cat. Paris: Éditions du Centre Pompidou, 2003. In French.
Lavrador, Judicaël. “Art et Feux d’artifice: Étincelles Modernes.” Beaux Arts (Paris) 225 (Feb. 2003), pp. 74–77. In French.
Pollack, Barbara. “Gunpowder Drawings: Cai Guo-Qiang.” Art on Paper (New York) 8, no. 2 (Nov.–Dec. 2003), pp. 38–39.
Poshyananda, Apinan. “Cai Guo-Qiang.” ArtAsia-Pacific (St. Leonards) 37 (Jan.–Feb.–Mar. 2003), p. 76.
Putnam, James. “The Way of the Dragon.” Contemporary (London) 49 (2003), pp. 44–47.
Tomkins, Calvin. “Light Show: Rockets’ Red Glare.” New Yorker (New York) 79, no. 26, Sept. 15, 2003, Talk of the Town, p. 40.
Vanderbilt, Tom. “Playing with Fireworks: The Art of Cai Guo-Qiang.” Wall Street Journal, Sept. 11, 2003, p. D10.
Zeng Hui-yan. “Explosion from the East to the West: Cai Guo-Qiang Plays around the World.” World Journal, Oct. 12–18, 2003, pp. 20–25, cover. In Chinese.
2004
Berwick, Carly. “Playing with Fire.” Artnews (New York) 103, no. 10 (Nov. 2004), pp. 122–23.
Dawson, Jessica. “Cai Guo-Qiang’s Ship Has Come in at Sackler.” Washington Post, Nov. 14, 2004, p. N8.
Dean, Jason. “Bridging the Divide with Art.” Asian Wall Street Journal, Sept. 13, 2004, p. A2.
Desai, Vishakha N. “Beyond the ‘Authentic-Exotic:’ Collecting Contemporary Asian Art in the Twenty-First Century.” In Collecting the New: Museums and Contemporary Art, ed. Bruce Altshuler, pp. 103–14. Princeton: Princeton University Press, 2005.
Gao Chien-huei. “Cai Guo-Qiang.” In After Origin: Topic on Contemporary Chinese Art in New Age, pp. 310–19. Taipei: Artist Publishing Co., 2004. In Chinese.
Goodman, Jonathan. “Cai Guo-Qiang An Explosion Event: Light Cycle over Central Park at the Asia Society.” ArtAsiaPacific (New York) 39 (Winter 2004), p. 84.
Lloyd, Ann Wilson. “Art That Goes Boom.” Smithsonian Magazine (Washington, D.C.) 5, no. 8 (Nov. 2004), pp. 112–16.
Macleod, Helen. “Treasure Island: Subtracting the Art from Artillery on Taiwan’s Remote, Wounded Outcrop.” New York Sun, Oct. 1–3, 2004, p. 21.
Nichols, Matthew Guy. “Cai Guo-Qiang at Central Park & the Asia Society.” Art in America (New York) 1 (Jan. 2004), p. 96.
Sayaka Yakushiji. “Blowing Away the Boundaries of Art and Politics.” Asahi Shimbun, Oct. 9–10, 2004, p. 35.
Wang Zi-ren. “Cai Guo-Qiang: Explode the International Art World, Explode the Spectacular Art Life.” La Vie (Taipei), Sept. 2004, pp. 114–27. In Chinese.
2005
Carrier, David. “Cai Guo-Qiang.” Artforum International (New York) 43, no. 6 (Feb. 2005), pp. 176–77.
Glueck, Grace. “The Cars Aren’t Really Exploding, but the Terrorist Metaphor Is.” New York Times, Feb. 18, 2005, p. E39.
Jin Bo. “Oriental Touch to Venice Biennale.” China Daily, June 11–12, 2005, p. 9. In Chinese.
Lefingwell, Edward. “The Extraterritorial Zone.” Art in America (New York) 2 (Feb. 2005), pp. 48–55.
Pollack, Barbara. “Enter the Dragon: Cai Guo-Qiang Breathes New Fire Into Venice.” Modern Painters
(London) (June 2005), pp. 80–83.
Searle, Adrian. “Boom Town.” Guardian, Aug. 2, 2005, G2, pp. 10–11.
2006
Ma Yue-ling. “Wind. Shadow. Fire. Dance.” Common Wealth (Taipei), Nov. 8, 2006, pp. 162–65. In Chinese.
Müller, Hans-Joachim. “Maler an der Lunte.” Die Zeit (Berlin), Aug. 24, 2006, p. 38. In German.
Roberts, Claire. “China’s Most Famous Ruin.” In The Great Wall of China, eds. Geremie Barmé and Claire Roberts, pp. 16–25. Sydney: Powerhouse Publishing, 2006.
Pan Qing. “Ink in the Sky: Cai Guo-Qiang’s ‘Transparent Monument’ at The Metropolitan Museum of Art.” Artco (Taipei) 165 (June 2006), pp. 202–5. In Chinese.
Shinkawa Takashi. “Cai Guo-Qiang: A Groundbreaking Journey.” ARTiT (Tokyo) 4, no. 2 (Spring–Summer
2006), pp. 42–47. In Japanese and English.
Vogel, Carol. “Inside Art: Up on the Roof, and above.” New York Times, Mar. 23, 2006, p. E28.
Wang Jia-ji. “Burning Medicine: Cai Guo-Qiang’s Explosion Art.” INK Literary Monthly (Taipei) 40 (Dec. 2006), pp. 50–56. In Chinese.
Zhao Li. “Encountering Cai Guo-Qiang.” INK Literary Monthly 40, pp. 57–59. In Chinese.
Zhou Qian-yi. “Black Snow, Black Hole, Black Rainbow: Cai Guo-Qiang’s ‘Wind Shadow’.” Performing Arts Review (Taipei) 167 (Nov. 2006), pp. 10–13. In Chinese.
2007
Tamashige Sachiko. “Cai Guo-Qiang.” So-en (Tokyo) (Sept. 2007), pp. 122–25. In Japanese.
Taylor, Kate. “Poetic Explosions at the Guggenheim.” New York Sun, Sept. 7–9, 2007, p. 14.