Launching the new Millennium Point Arts & Science Strategy, we're delighted to be working with Eastside Projects and bringing House of Treasures by Chinese artist Cao Fei.

It will be the first time that the work has been exhibited outside of China.

About House of Treasures

Cao Fei’s inflatable suckling pig references the relationships between tradition, experience, memory and reality. In the region of Southern China that Cao Fei is from, the suckling pig is both a culinary delicacy and a symbol of good fortune, habitually employed in rituals and cultural celebrations. Exploring the layers of meaning inferred on an object by experience and information, the sculpture’s bulbous red eyes will, to those familiar with Cantonese tradition, be identifiable as the maraschino cherries commonly used in presenting the cooked animal. On entering the belly of the work, inflatable cuts of pork meat unequivocally assert the role the creature is destined to play. Fascinated by the rapidly evolving practices and habits of contemporary Chinese youth culture, Cao Fei’s sculpture can be interpreted as both a portrait of personal experience, and a playful comment upon the declining role of cultural traditions in an increasingly globalised society.

About Cao Fei

Cao Fei was born in Guangzhou, China, in 1978. She earned a BFA from Guangzhou Academy of Fine Arts in Guangzhou, China (2001).

Cao Fei’s work focuses on the international youth culture filtering into the rapidly growing cities of the Pearl River Delta in the Guangdong province of Southern China. Working predominantly in new media and video installations, she focuses on elements of the surreal in modern society, in which technological advancement is increasingly blurring the boundary between dream and reality. Interested in the infiltration of fantasy into the everyday, she has dedicated much of her work to investigating the online virtual world of Second Life, ‘cosplay’ – in which participants dress as characters from video games and comics – and the impact of hip hop culture in China. Alluding to the disillusionment of China’s youth, she has created her own virtual utopia, RMB City, on Second Life.

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