{"id":98017,"date":"2016-05-11T17:08:48","date_gmt":"2016-05-11T21:08:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98017"},"modified":"2016-05-11T17:21:28","modified_gmt":"2016-05-11T21:21:28","slug":"echo","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/","title":{"rendered":"Echo"},"content":{"rendered":"
\"\"

Miao Xiaochun, Triumph of Death<\/i>, 2015, acrylic on linen, 13′\u00a0x 13′.<\/p><\/div>\n

Miao Xiaochun\u2019s new exhibition, \u201cEcho<\/a>,\u201d is at Galerie Paris-Beijing from May 12 through June 18. A Chinese digital artist, Xiaochun specializes in what he\u2019s called \u201calgorithmic painting,\u201d recasting work from a\u00a0religious\u00a0European tradition\u2014famous canvases from the likes of Bosch or Brueghel\u2014as vibrant, science-fictional virtual worlds. These dreamscapes\u00a0are\u00a0\u201cpopulated,\u201d as the gallery puts it, \u201cby strange cybernetic beings, with no clothes, character, or expression.\u201d See more of his work on Art Radar<\/a>.<\/em>
<\/p>\n

\"\"<\/a>

Ice Man<\/i>, 2011, pigment print on canvas, 39.37″ x 59″.<\/p><\/div>

\"\"<\/a>

Restart<\/i> (stills), 2008\u20132010, 3-D computer installation, 14’22”.<\/p><\/div>

\"Samsara<\/a>

Samsara<\/i> (still), 2015, 3-D animation installation, 10’13”.<\/p><\/div>

\"\"<\/a>

The Raft<\/i>, 2011, pigment print on canvas, 39.37″ x 59″.<\/p><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"

Miao Xiaochun\u2019s new exhibition, \u201cEcho,\u201d is at Galerie Paris-Beijing from May 12 through June 18. A Chinese digital artist, Xiaochun specializes in what he\u2019s called \u201calgorithmic painting,\u201d recasting work from a\u00a0religious\u00a0European tradition\u2014famous canvases from the likes of Bosch or Brueghel\u2014as vibrant, science-fictional virtual worlds. These dreamscapes\u00a0are\u00a0\u201cpopulated,\u201d as the gallery puts it, \u201cby strange cybernetic beings, […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[22318,2691,35,1560,22317,22319,7676,22316,13916,200],"class_list":["post-98017","post","type-post","status-publish","format-standard","hentry","category-look","tag-algorithmic-painting","tag-animation","tag-art","tag-chinese-art","tag-digital-painting","tag-galerie-paris-beijing","tag-galleries","tag-miao-xiaochun","tag-openings","tag-science-fiction"],"acf":[],"yoast_head":"\nEcho: Five Digital Paintings by Miao Xiaochun<\/title>\n<meta name=\"description\" content=\"The Chinese artist\u2019s new exhibition opens this week at Galerie Paris-Beijing.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Echo by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"May 11, 2016 \u2013 Miao Xiaochun\u2019s new exhibition, \u201cEcho,\u201d is at Galerie Paris-Beijing from May 12 through June 18. A Chinese digital artist, Xiaochun specializes in what\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-05-11T21:08:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-05-11T21:21:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/triumph-of-death-.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"1000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Echo\",\"datePublished\":\"2016-05-11T21:08:48+00:00\",\"dateModified\":\"2016-05-11T21:21:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\"},\"wordCount\":148,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/triumph-of-death-.jpg\",\"keywords\":[\"algorithmic painting\",\"animation\",\"art\",\"Chinese Art\",\"digital painting\",\"Galerie Paris-Beijing\",\"galleries\",\"Miao Xiaochun\",\"openings\",\"science fiction\"],\"articleSection\":[\"Look\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\",\"name\":\"Echo: Five Digital Paintings by Miao Xiaochun\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/triumph-of-death-.jpg\",\"datePublished\":\"2016-05-11T21:08:48+00:00\",\"dateModified\":\"2016-05-11T21:21:28+00:00\",\"description\":\"The Chinese artist\u2019s new exhibition opens this week at Galerie Paris-Beijing.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/triumph-of-death-.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/triumph-of-death-.jpg\",\"width\":1000,\"height\":1000},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/11\/echo\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Echo\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. 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