Head+On+--+Cai+Guoqiang

**//Head On//: Installation by Cai Guo-Qiang**

 //Head On//, [], August 26-October 15, 2006, Deutsche Guggenheim, Berlin, Germany, Photo by Hiro Ihara and Mathias Schormann.

**Artwork Identification** //Head On//, Cai Guo-Qiang, 2006. Installation consisting of ninety-nine life-sized replicas of wolves and glass.

**Introduction** Cai Guo-Qiang's installation of ninety-nine lifelike replicas of wolves running //Head On// into a glass wall is a visual allegory for the human condition. Cai Guo-Qiang's pack of wolves, relentlessly charging forward towards a sudden end, represents the will to heroically press on. It is at the same time both tragic and beautiful.

**Descriptive Analysis** Ninety-nine life-like wolves constructed from metal wires with painted sheepskins stuffed with hay and have the appearance to be running in as pack through the length of an empty white room, only to crash headfirst into a glass wall and consequently fall to the ground. Outside of the entryway, six stray wolves casually enter the room where they join more wolves heading in the same direction. Along the length of the wall, the wolves quickly gain momentum and rise in a tight pack into an arc of simulated movement. The wolves are packed closely together, creating the illusion of one long, moving "stream" of wolves. The "stream", is suspended above the heads of the viewers, moving towards, and finally crashing forcefully, into a Plexiglas wall at the opposite end of the room. The glass panel is only slightly wider than the width of the "stream" of wolves which is approximately four to five wolves wide. Their realistic faces are made of plastic, and they each possess marbles for their dark, lifelike eyes. The expressions on the faces of the wolves, as well as the tension in their bodies, contribute further to the illusion that the wolves are running towards something with deliberation; with their ears laid back, mouths open with their teeth bared and tongues hanging out. The compacted, clean arc of wolves with their bodies elongated and stretching to reach the approaching glass panel is juxtaposed with the disorderly wolf bodies that smash into the wall and lay beneath on the floor, limbs and heads twisted some broken in unnatural positions, beginning to pile on atop of one another. The juxtaposition of the streamlined running wolves with the broken, crumpled, "lifeless" bodies of the wolves, who have met the glass panel head on, is very abrupt.  //Head On//, [], 2006, Deutsche Bank Collection Installed at Solomon R. Guggenheim Museum, New York, Photos by David Heald.

**Formal and Contextual Analysis**

 //Cai Guo-Qiang//, [], 2005, "Art in the Twenty-First Century" production still, Season 3, Episode: "Power".

Cai Guo-Qiang was born in 1957 in Quanzhou City, Fujian Province, China, but has lived and worked in New York since 1995. He is the son of a historian and painter and came from a background of alchemy and [|Taoism.]Between the years 1981-1985, Cai Guo-Qiang was trained in stage design at the Shanghai Drama Institute; he rejected the idea of going to a traditional art school. He then lived in Japan from 1986 to 1995, where he began to experiment with gunpowder in large-scale drawings. These drawings eventually lead to his pyrotechnics, or fireworks performances, which are recorded on video. Working with gunpowder presented spontaneity that Cai Guo-qiang felt was oppressed in China at the time. He is recognized for the bold statements that he makes not only in his gunpowder drawing and performance art, but also for his large-scale installations. He is considered to be one of the most significant contemporary international artists, and certainly one of the most influential Chinese artists today (he orchestrated the fireworks display for the 2008 Beijing Summer Olympics). All of Cai Guo-Qiang's work resonates with themes of suspended motion, sudden change, violence, and transformation (Smith, 2008).

One of Cai Guo-Qiang's most dramatic installations is //Head On//. Cai Guo-Qiang conceived //Head On// in Germany in 2005, for his first solo show in Germany at the [|Deutsche Guggenheim]. Cai Guo-Qiang wanted his show to address social and political issues imminent to German history, tragic beauty, and the dangers of a global event culture ("Tragic Beauty" 2006). Since the museum was in Berlin the artist wanted to deal with the many issues that surround the city. It became the capital of the German Reich in 1871. In 1933, Adolf Hitler took over and that was the end of German democracy. The Berlin Wall was constructed in 1961 and separated East and West Germany for more than a quarter of a century. Some 200 people were thought to have lost their lives trying to cross this wall. These are just a few monumental events in this rich cities history.

The wolves in this piece may represent Hitler and his soldiers. Hitler called himself Heir Wolf and referred to his "SS" men as his "pack of wolves". ([]) So many people blindly followed Hitler "the big bad wolf" unsure of his direction, only to eventually slam face first into a wall of sadness and death they couldn't see coming. To compliment //Head On//, Cai Guo-Qiang also created large gunpowder drawing entitled //Vortex,// as well as a video of an explosion entitled //Illusion II// which shows an entire house being blown up with colorful fireworks in the center of Berlin.

<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: Arial,Helvetica,sans-serif;">//IllusionII: Explosion Project//, [], 9:30 pm, July 11, 2006, Berlin, Germany, Photo by Hiro Ihara.

<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: Arial,Helvetica,sans-serif;">//Vortex//, [], 2005, Ink pen on paper, proposal drawing by Cai Guo-Qiang.

<span style="font-family: Arial,Helvetica,sans-serif;">Cai Guo-Qiang explained that all three pieces related to Berlin, but at the same time, applied more universally to the human condition. His art exemplifies the beauty of destruction, heroism, and human blindness; these elements are universal ("Tragic Beauty" 2006).

<span style="font-family: Arial,Helvetica,sans-serif;">//Head On// visually expresses the universal human tragedy to press forward in complete blindness. This has occurred throughout history. Cai Guo-Qiang uses animals to represent the human world. He manipulates them to exhibit power through physical presence. A lone wolf is a symbol of bravery and courage; a pack of wolves represents a collective heroism and unity. Cai Guo-Qiang spends many weeks planning each of his pieces. From January through June, 2006, Cai commissioned a local workshop in his hometown that specializes in manufacturing life-sized replicas of animals to create the ninety-nine wolves for //Head On.//

<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: Arial,Helvetica,sans-serif;">Production images of wolves, components of the exhibition "Cai Guo-Qiang - Deutsche Bank Collection", [], 2006, Deutsche Guggenheim, Germany.

<span style="font-family: Arial,Helvetica,sans-serif;">The glass wall that the wolves collide into could be seen to represent The Berlin Wall. In his own words, CaI Guo-Qiang explained that the plate glass wall was intentional and "not an exact replica of the Berlin Wall. I wanted a transparent boundary, harder to see and harder to escape from" (Fels, 2008). Cai Guo-Qiang's intention for the wall was to increase the energy and movement of the forward-pressing pack of wolves, to accelerate their force and make it more intense at the moment of impact, to heighten the energy and beauty of the wolves. Cai Guo-Qiang states, "There are these wolves running and leaping and crashing into a wall. They seem at ease in this contradictory feeling towards a transparent wall and because of its transparency it is more invisible and harder to demolish. []

<span style="font-family: Arial,Helvetica,sans-serif;">Cai Guo-Qiang's art has been exhibited globally. Even though his work is rooted in Chinese tradition and culture, he imbues it with post-conceptual thought, challenging preconceptions and confronting the viewer through specific images that can be seen to symbolize global issues.

<span style="font-family: Arial,Helvetica,sans-serif;">**References** <span style="font-family: Arial,Helvetica,sans-serif;">//Printed sources://

<span style="font-family: Arial,Helvetica,sans-serif;">Fels, Sophie//.// "Cai Guo-Qiang." //Time Out New York (February 20, 2008).//

<span style="font-family: Arial,Helvetica,sans-serif;">McGuigan, Cathleen//.// "Art: CAI Guo-Qiang's 'Head On'." //Newsweek// (January 10, 2009).

<span style="font-family: Arial,Helvetica,sans-serif;">Smith, Roberta. "Cai Guo-Qiang at the Guggenheim: From Gunpowder to Esperanto." //International Herald Tribune// (February 22, 2008).

<span style="font-family: Arial,Helvetica,sans-serif;">On-line sources:

<span style="font-family: Arial,Helvetica,sans-serif;">Db Artmag. "Tragic Beauty: A Conversation with Cai Guo-Qiang." 2006, [] (2006). <span style="font-family: Arial,Helvetica,sans-serif;">Davis, Ben. "Cai Guo-Killer." 2008. [] (March 2008).

<span style="font-family: Arial,Helvetica,sans-serif;">Deutsche Guggenheim. "Sammlung Deutsche bank Cai Guo-Qiang Head On 26.8-15.10.06." 15 December, 2006, <[]> (July 2006).

<span style="font-family: Arial,Helvetica,sans-serif;">Giuliano, Charles. "Cai Guo-Qiang at the Guggenheim." 3 April, 2008, [|http://www.berkshirefinearts.com] (May 2008).

<span style="font-family: Arial,Helvetica,sans-serif;">Guggenheim. "Cai Guo-Qiang's Cry Dragon/Cry Wolf: The Ark of Genghis Khan." 2006, [] (2006).

<span style="font-family: Arial,Helvetica,sans-serif;">Kearney, David. "Cai Guo-Qiang's 'Descending Wolves for the Guggenheim International Gala' Highlights Ravenel Arts Taipei Auction." 20 November 2008, [] (2008).

<span style="font-family: Arial,Helvetica,sans-serif;">[]

<span style="font-family: Arial,Helvetica,sans-serif;">[]

<span style="font-family: Arial,Helvetica,sans-serif;">Other sources:

<span style="font-family: Arial,Helvetica,sans-serif;">PBS. <span style="font-family: Arial,Helvetica,sans-serif;">//Art in the Twenty-First Century: Cai Guo-Qiang//. "Spirituality, Choas & "Inopportune". Documentary Film. Interview. 2005.

<span style="font-family: Arial,Helvetica,sans-serif;">**<range type="comment" id="928475">‍‍‍‍‍‍‍‍‍** <span style="font-family: Arial,Helvetica,sans-serif;">**Lesson ‍Title:** Invisible Barriers <span style="font-family: Arial,Helvetica,sans-serif;">**Grade Level:** Elementary School (4th-5th) <span style="font-family: Arial,Helvetica,sans-serif;">**Time:** Five fourty-five minute class ‍‍‍‍‍‍‍‍‍‍ periods

<span style="font-family: 'Arial','sans-serif';">This lesson meets the following [|National Standards for Arts Education (Visual Arts)]: <span style="font-family: 'Arial','sans-serif';">NA-VA.K-4.1: Understanding and applying media, techniques, and processes (3,4) NA-VA.K-4.3: Choosing and evaluating a range of subject matter, symbols, and ideas (1,2) NA-VA.K-4.5: Reflecting upon and assessing the characteristics and merits of their work and the work of others (1,2,3)
 * <span style="font-family: 'Arial','sans-serif';">Standards: **

<span style="font-family: 'Arial','sans-serif';">This lesson meets the following [|National Educational Technology Standards for Students]: <span style="font-family: 'Arial','sans-serif';">1. Facilitate and Inspire Student Learning and Creativity <span style="font-family: 'Arial','sans-serif';">(b,c) 5. Engage in Professional Growth and Leadership (b,c,d)

<span style="font-family: Arial,Helvetica,sans-serif;">**Central Concept:**
 * Barriers: Physical and psychological obstacles that prevent someone from accomplishing their goals. In the //Head On// piece, the artist Cai Guo-Qiang explored the issue of people’s tragic tendencies to press forward even when in complete blindness. Berlin was the bases for the inspiration behind creating this work. Cai Guo-Qiang goes onto explain that all three pieces are related to Berlin, but at the same time, applied more universally to the human condition. This lesson's intent is to identify and navigating unseen barriers that prevent someone from accomplishing their goals. Students will first be introduced to Cai Guo-Qiang’s //Head On// and then be asked to identify restrictions that they have encountered in their own lives, personally, socially, physically and psychologically. In addition students will look for examples of barriers in their homes and school.

<span style="font-family: Arial,Helvetica,sans-serif;">**Lesson Activities:**
 * Activity 1: Enter the Barrier (one class)
 * The teacher introduces the //Head On// to the students, through a [[file:Power Point.pptx]] showing images of how the //Head On//was made. The teacher then facilitates a discussion of obstacles and barriers in our paths by asking the following guiding questions.
 * What is a barrier?
 * What are different types of barriers?
 * What are some barriers you have encountered?
 * What are some barriers you have seen others encounter?
 * The teacher creates a VoiceThread blog to allow the students to “voice” their opinions on what sort of barriers Cai Guo-Qiang may be trying to illustrate in his work. Teachers that are unfamiliar with VoiceaThread may go to this link []and follow the step required to create a blog for their students to respond to. As part of this assignment each student will be required to create a VoiceThread account and respond to the blog. To assist the students in creating their blog accounts this tutorial link [] will be added to the classroom website to assist those at home. For those students unable to create an account at home, because of either no home computer, or computer literacy, allot ten minutes from the beginning or end of each class to assist the student. Once students have been divided up into groups, ask students that have successfully created account to assist their team members.


 * <span style="font-family: Arial,Helvetica,sans-serif;">Activity 2: Life Hurdles (one class)
 * During the first half of class divide students into small groups (3 to 4 students) and ask them to brainstorm the meaning of the piece with the focus on identifying the barrier and Cai Guo-Qiang”s suggestive method to break it. The students then discuss the different kinds of barriers that people face in their lives (personal and social; physical and mental) and possible ways in which they can be overcome.
 * In the second half of class inform the groups to choose the barrier and antagonist that they want to create a collage of. Once the groups have chosen a barrier, have them brainstorm on images that could be used to represent them. By the next time the class meets, each group is responsible for at least five ideas of images that could be used to represent their barrier and antagonist. Print this [[file:Handout.docx]] for the students to use for project.


 * Activity 3: Making and Breaking Barriers (three classes)
 * Using printed images from the Internet, magazines or found objects, the students will create a group collage on a piece of 18”x24” poster board (which will be drawn or painted for the background), representing their group’s idea of a physical/ psychological barrier. Each student must contribute 3-5 images in the creation of the overall collage. Of those 3-5 images, at least one must represent the barrier, and one the antagonist.
 * Upon completion of the collage, each student must prepare a brief statement (three sentences) of their individual solutions of how to overcome the barrier chosen by their group.

<span style="font-family: Arial,Helvetica,sans-serif;">**‍‍‍Assessment:‍‍‍**
 * Criteria || Above average || Average || Below Average ||
 * Class participation and discussion || Student actively participates in class and group discussions and makes a positive contribution to the classroom learning of barriers that is expressed in visual art and people face in their daily lives. || Student somewhat participates in class and group discussions and makes some positive contribution to the classroom learning of barriers that is expressed in visual art and people face in their daily lives. || Student does not participates in class and group discussions and makes no/ negative contribution to the classroom learning of barriers that is expressed in visual art and people face in their daily lives ||
 * Collage || Effectively uses appropriate images and techniques to create a successful composition to convey the chosen barrier/ obstacles to create a successful composition. The collage exhibits quality craftsmanship. || Uses mostly appropriate i mages and techniques to create a mostly successful composition to convey the chosen barrier/ obstacles to create an overall strong composition. The collage exhibits good craftsmanship. || Few or no appropriate images and techniques were used to represent the chosen idea in the composition. The collage exhibits poor craftsmanship. ||
 * Collage Statement || Statement is complete and well thought out, and fully conveys the issue that the student has chosen to portray and is supported by the description of the visual elements. || Statement is mostly complete and shows a good level of thought, and mostly conveys the issue that the student has chosen to portray and is supported by the description of the visual elements. || Statement is incomplete and poorly thought out, and has holes in the reasoning of that the issue the student has chosen to portray and is supported by the description of the visual elements. ||