Cai Guo-Qiang: Ramble in the Cosmos―From Primeval Fireball Onward

List of Works

EXHIBITION CONTENT

I. Pre-Primeval Fireball: What Gave Birth to the "Big Bang"?

Cai loved to paint since he was a child, an interest sparked by his father. Fascinated by the tension of the energy released by explosions, he began to use gunpowder as a medium in 1984 in his hometown of Quanzhou, in search of destruction and regeneration, as well as the rule of things reversing at their extremes. His use of gunpowder was also linked to his youthful rebellion against societal control. Cai's artistic exploration during his time in China had already begun to delve into themes such as crises facing humanity, the universe, and the Earth.

Cai Guo-Qiang, The Earth is Our Common Home, 1985 Oil on canvas 112 x 280 cm Photo by Mengjia Zhao, courtesy Cai Studio

Cai Guo-Qiang, Shadow: Pray for Protection, 1985–86 Gunpowder, ink, candle wax, and oil on canvas, mounted on wood 155 x 300 cm Photo courtesy Cai Studio

After arriving in Japan, he continued to ground himself in the philosophies of Jeng shui, qi gong, Taoist thought, the I Ching (The Book of Changes), and ancient Chinese cosmologies. At the same time, Cai actively engaged with Japanese culture, finding inspiration in Japan's high-tech, modern society, as well as the local and international contemporary art and new findings in cosmology that he was exposed to there.

His lifelong fascination with the universe and the unseen world, combined with his experience in Japan, led to the development of his Project far Extraterrestrials explosion series. The realization of Human Abode: Pro;ect far Extraterrestrials No. 1 in 1989 at Tamagawa was the first of many such projects.

Cai's Project for Extraterrestrials series of explosion projects soon expanded past the boundaries of Japan and entered Europe. In 1990, at a group exhibition in the south of France, he created 45.5 Meteorite Craters Made by Humans on Their 45.5 Hundred Million Year Old Planet: Project for Extraterrestrials No. 3, a large-scale explosion event that mesmerized the Japanese art world and became the origin point for his Primeval Fireball exhibition.

Cai Guo-Qiang Human Abode: Project for Extraterrestrials No. 1, 1989 Gunpowder on paper Approx. 213 x 154 cm Photo courtesy Cai Studio

II. The "Big Bang": Primeval Fireball-The Project for Projects, February 26-April 20, 1991

On December 8th, 1990, Cai turned thirty-three. In his diary entry for that day, he wrote: "Like a long passage of time filled with sweet, sour, and bitter moments, life seems to pass by swiftly, and the urgency of time becomes more pressing. Let's consider how the most recent starlight seen outside our solar system was emitted 200 years ago, before we were born. The starlight from further distances was emitted even before the birth ofLaozi; and the ones from much further away predate the story of mankind. So, at thirty-three, I am still too young. Even Laozi is young, and humankind too."

Cai Guo-Qiang, Crater, 1990 Gunpowder on papier-mâché Approx. 56 x 67 x 2.5 cm © Solomon R. Guggenheim Foundation New York. Photo by David Heald

Two months later, Cai held a solo exhibition at P3 art and environment in Tokyo, Primeval Fireball: The Project far Projects, featuring seven gunpowder screen drawings arranged in the shape of a blast wave, an installation that can be seen as a sketch for his relevant explosion events. The cosmological term "Primeval Fireball" was suggested from Cai's interpretation of Laozi's writings about the origin of the universe in Tao Te Ching, a Chinese classical text: "There was something nebulous yet complete, born before Heaven and earth." The radial display, reminiscent of an explosion, symbolized cosmic beginnings and represented Cai's own energizing, bold spirit as an artist making one big step forward. He has since continued to expand upon this imagery and concepts of the monumental installation and the exhibition.

III. The post-Primeval Fireball era

In the 1990s, Cai launched a series of explosion events around the world called Projects for Extraterrestrials, while continuing to explore his project ideas through large-scale gunpowder drawings. The drawing The Immensity of Heaven and Earth: Project for Extraterrestrials No. 11 is derived from his explosion event for the Fukuoka exhibition, Exceptional Passage: Chinese Avant-Garde Artists Exhibition (1991), expressing his strong belief in the relationship between the origin of life and the cosmic order.

While carrying out a series of large-scale projects in Europe, in 1993, with the help of local people and volunteers from all over the world, Cai realized a sweeping explosion event Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No.10 in the Gobi Desert in Jiayuguan, Gansu Province, China. In 1994, he held solo exhibitions at the Iwaki Museum of Art in spring and the Setagaya Museum of Art in autumn. In 1995, he received a grant from the Asian Cultural Council (ACC) for the Japan-U.S. Artist Exchange Program and moved to New York, where he became ever more active in major art institutions around the world, establishing his reputation as an international contemporary artist.

At the opening ceremony of the 2008 Beijing Olympic Games, Cai realized the spectacular fireworks Bigfoot's Footoprints, an idea he first conceived in 1990, attracting global attention. The concept of giant footprints crossing borders and barriers set by humans was then further developed in the thirty-three-meter-long Drawingfor Footprints of History (2008), which will be on display in this upcoming exhibition. In 2015, after twenty-one years and several failed attempts, the explosion event Sky Ladder, a majestic 500-meter-high fireworks ladder connecting heaven and earth, was realized in a small fishing village in Cai's hometown of Quanzhou, China.

Cai Guo-Qiang Making a Ladder to the Earth: Project for Extraterrestrials No. 20, 1994 Gunpowder on paper 272 x 182 cm Photo by Mengjia Zhao, courtesy Cai Studio

Cai Guo-Qiang, Drawing for Footprints of History, 2008 Gunpowder on paper 400 x 3300 m Photo by Mengjia Zhao, courtesy Cai Studio

 Encounter with the Unknown
In 2019, Cai Guo-Qiang created the large-scale firework event Encounter with the Unknown: Cosmos Pro;ect for Mexico, a project informed by Mexico's history as an ancient civilization as well as its 500 year history of Spanish colonization. The installation of giant firework towers built from traditional hand-crafted techniques showcased the convergence of different civilizations and cosmologies.

Cai Guo-Qiang and the installation Encounter with the Unknown at the Museum of Art Pudong, 2021 Photo by Kenryou Gu, courtesy Cai Studio

The large-scale LED light installation exhibited at NACT is a transformation of these fireworks towers into motor-driven and computer-controlled LED light paintings. It forms a vast "cosmic jungle" with horizontal and vertical dimensions. In the work, Cai utilizes LEDs to depict various images related to the universe, including galaxies, wormholes, spaceships, Einstein and Hawking, primitives and aliens, and UFOs and angels in the sky. These depictions aim to convey mankind's longstanding yearning for the universe and a curiosity and desire for the unknown world that persists in the uncertain future of today. The flickering light of the installation will envelop the adjacent screen paintings Primeval Fireball and the surrounding walls, seamlessly integrating with the exhibition's theme and the artworks on the walls.

IV. Is the spirit of Primeval Fireball still alive?

While preparing for the exhibition, Cai asked himself: "Was the spirit of Primeval Fireball lost amid the various temptations of a love for painting, art historical responsibilities, and the urge for social commentary? Or was the spirit only elusive, briefly concealing itself before resurfacing with renewed vigor?"

Cai Guo-Qiang, The Annunciation of cAI™, 2023 Gunpowder on glass and mirror 202.6×578.9 cm Photo by Mengjia Zhao, courtesy Cai Studio

Cai Guo-Qiang, Canvas on the Moon: Project for Extraterrestrials No. 38, 2023 Gunpowder on glass and mirror 202.6×578.9 cm Photo by Mengjia Zhao, courtesy Cai Studio

He continued: "The Internet is driving globalization, as well as the revolution of digitalization—including intelligentization and AI (artificial intelligence). These have triggered rapid changes in social forms and lifestyles at an unprecedented speed. In 1990, I wrote in my diary,'Being in the beginning of the computer and information age, I am excited as an artist to be part of this era of great transformation. Compared to the Impressionists facing the development of industrial civilization, we are facing a more essential and magnificent era of humanity. This self-awareness makes me feel the need to strive hard.'Now, advanced technologies like AI once again excite me. I always feel the era I face is awesome!"
Since 2017, Cai has been continuously exploring new possibilities of contemporary art through cutting-edge technologies such as AI, AR, VR, blockchain, and NFT. This exhibition presents several such new media artworks.

Cai Guo-Qiang, Non-Brand 非品牌 5, 2019 Gunpowder on glass and mirror 183 x 152.5 cm Photo by Wen-You Cai, courtesy Cai Studio

Cai Guo-Qiang, Frolicking on Ice in the Galaxy, 2020 Gunpowder on glass and mirror 205 x 915 cm Photo by Wen-You Cai, courtesy Cai Studio

Cai Guo-Qiang and Iwaki

Cai Guo-Qiang lived in Japan for almost nine years, starting from December 1986. Iwaki, a coastal town in Fukushima, has had a special place in his life and art—almost a second hometown. Caiand his wife, Hong Hong Wu, possess a vibrant charisma that has deeply moved the people of Iwaki. Many of them had never set foot in an art museum, yet they felt a resonance with Cai’s youthful dreams and artistic romance. They said to Cai, “It looks interesting, let’s give it a try!” and “Leave it to us!” and wholeheartedly offered their help with sincere enthusiasm. With a determination to ensure the realization of Cai’s artworks, they formed a group called“Jikkou-kai” (The Executive Committee).

Over the past thirty years, Cai and his friends in Iwaki set sail together, starting from a small shing village and on to the world. Over the years, Cai and his friends in Iwaki have grown together through their collaborative efforts, and have witnessed each other’s hair becoming grey and their movements less nimble. This longlasting
friendship, conveyed through art, has transcended the political and historical differences between nations.

Even after Cai moved to the distant New York City in 1995, the publication of Cai Newsletter, created by his friends in Iwaki, continued periodically, keeping the people of Iwaki informed about the artist’s latest developments. They were fortunate to have each other as invaluable companions throughout their lives. Cai’s story with Iwaki continues.“To create work here, to have a dialogue with the universe from here, to create a story of the era with the people living here.”

Cai Guo-Qiang

Daytime fireworks "When the Sky Blooms with Sakura"

On June 26th, Cai realized the daytime firework event When the Sky Blooms with Sakura in Iwaki, Japan. The event took place along the Yotsukura coastline, where thirty years ago Cai and his friends in Iwaki worked together to complete the explosion event The Horizon from the Pan-Pacifi·c: Project for Extraterrestrials No. 14. The artwork was commissioned by SAINT LAURENT and organized by the Executive Committee of the project, preluding the opening of the exhibition.

About SAINT LAURENT

Founded in 1961, Yves Saint Laurent is one of the most prominent fashion houses in the world. Originally an Haute Couture house, the company later also became a pioneer in ready-to-wear, as its legendary founder revolutionized the relationship between fashion, art, and society. From its beginnings, the house of Saint Laurent has engaged with and influenced a multitude of creative forms beyond fashion. This dialogue with diverse artistic expressions continues today under the visionary direction of Anthony Vaccarello and the leadership of Francesca Bellettini, who have built on it to expand the brand's commitment to excellence and further development.