EXHIBITED:

The 48th Venice Biennale, Venice, 1999
China Gaudy Art, Tianjin Taida Art Gallery, Tianjin, 1999

The 5th Lyon Biennale of Contemporary Art, Lyon, 2000

The Second-Hand Reality, Modern Art Exhibition, Today Art Museum, Beijing, 2003

ILLUSTRATED:

Mahjong - Contemporary Chinese Art from the Sigg Collection, Hatje Cantz-Verlag, Germany, 2005, color illustrated, p. 224

Always to the Front, China Contemporary Art, Kuandu Museum of Fine Arts, Taipei, 2005, color illustrated, p. 128

Lu Hao: Vanishing Homes, Sichuan Fine Arts Publishing House, Chengdu, 2006, color illustrated, p. 196

Lu Hao grew up in a traditional courtyard house south of Beijing. His fondest memories of his youth were pond fish, blooming flowers, chirping birds and the tranquil atmosphere.

With modernization and the changes in the urban structures under the reform process, it's a shocking experience for most Beijing natives, including Lu, to see the demolition of the old cityscape.

Struck by how the city was changing, Lu became increasingly interested in expressing his nostalgia for traditional architecture. This can be seen in his powerful monochromatic paintings of the city's small alleyways. In addition, Lu has produced a series of installations of exquisitely scaled-down architectural models of important cultural and historical sites in Beijing. He titled them "Flower, Bird, Insect, Fish". This lot, the "Flower Vase", is one of the four works in this series.

The artist employed plexiglas, a translucent and fragile medium to construct his miniature architectural models. This work is the Great Hall of the People which symbolizes Beijing's central political power. He has distorted the ideological features of the structure and filled it with animate and organic subjects such as goldfish, crickets and flowers. Perhaps, the artist is trying to comment on the absurd changes with Chinese modernization.