Gao Brothers

The Gao Brothers started their career in 1989 via a collective exhibition organized at the National Art Museum of China (NAMOC) [4] where they exhibited their piece Midnight Mass, an inflatable installation representing a hermaphrodite sexual organ measuring 4 meters high. Midnight Mass borrows from surrealism the technique of the body's fragmentation and the notion of the "Anatomy of desire" from Hans Bellmer.[5] However, both the material used (inflatable plastic) and the dimensions of the work bring it into the realm of contemporary art.

With her large breasts and her long nose, Miss Mao, Mao Zedong's monumental icon,[4] appears as a hybridization of Minnie and Pinocchio. She is a grotesque image of a monstrous mother figure and a liar. As Claude Hudelot and Guy Gallice, show in their book, The Mao,[6] the abundant iconography of Mao spans 60 years of Chinese folk art, depicting tirelessly the images of worship of the Great Helmsman. Given the escalation of propaganda and the power of the image used in advertising, artists are left with a natural choice to divert and distort these images, often in an exaggerated and grotesque manner.

In 2009, the Gao Brothers turned towards working with bronze. The execution of Christ consists of bronze statues of seven soldiers shooting Christ. The sculpture of Mao with a gun was made in 1964, April 28.[6] This parable refers to the concept developed by Nicolas Bourriaud known as "alter-modernity" Bourriaud,[7] that begins with the idea that today's artists live in a globalized culture that should be used not to deny their individuality but to create a new modernity - one made of openness and intercultural exchange. The execution of Christ illustrates this concept as it combines two fundamentally different cultures while preserving one another.

The firing of Hu Yaobang and his disappearance encouraged the students’ protest at Tiananmen on April 21, 1989 (Tiananmen Square protests of 1989). The demonstrations lasted until the beginning of June, when authorities decided to repress the revolt. The Chinese army repression on June 4, 1989, drew national and international attention. Numerous arrests were made.

The Gao Brothers painted a kind of memorial in honor of the victims. An open hand, a hole at its center representing a bloody wound, now stands in front of Tiananmen Square. Victims of the 1989 repression have been depicted as martyrs sacrificed for the cause of democracy. Across the hand's palm a red Forbidden City appears on a yellow background.

The Gao brother's series Sense of Space [4] depicts the authors and other anonymous models, naked, locked in boxes labeled with titles such as "Prayer", "Waiting", "Anxiety" and "Pain". Contorted bodies attempt to enter into boxes too small for them.

For about ten years, the Gao Brothers have organized performances around the idea of hugging,[8] a 15-minute couple embrace and then a collective embrace of 5 minutes occurs. Some models are dressed, others are naked. Since 2000, nearly 150 people, meeting each other for the first time through this experience, have embraced each other through organized meetings of this sort.