足球开户系统 ART INFO-足球开户系统 http://www.sohbed.com Find Chinese Contemporary Art and News Wed, 11 Sep 2019 09:17:42 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.11 Boers-Li Gallery presents “River flowing without a Beacon, 1979” in Beijing-足球开户系统 http://www.sohbed.com/boers-li-gallery-presents-river-flowing-without-a-beacon-1979-in-beijing.html http://www.sohbed.com/boers-li-gallery-presents-river-flowing-without-a-beacon-1979-in-beijing.html#respond Wed, 11 Sep 2019 09:17:42 +0000 http://www.sohbed.com/?p=102842

The 1979 was the prelude to a new era.

Deng Xiaoping, Margaret Thatcher, John Paul II, Ruhollah Khomeini, the Mujahedeen, they broke or even subverted their original world, releasing the two long-repressed forces, market and religion, and began to dominate this world.

This is a significant reversal of the history of social thought, promoting political and economic experiments in the three (or four) years of the world, and also spawning the axis of the 21st century! Whether we like it or not, whether we suffer or harm, today we are still living in the shadow of 1979.

— Christian Caryl

On September 27, 1979, on the fence of the park outside the National Art Museum of China, a modern art exhibition called “Star Art Exhibition” was unveiled. Two days later, the exhibition was banned. However, a single spark can start a prairie fire, and since then, China contemporary art has begun.

1979 marks the year of Deng Xiaoping’s speech at the Fourth Congress of Chinese Writers and Artist, of the publication of Dushu magazine and of the Li Honglin’s article Reading Books without Prohibited Areas that caused enormous repercussions. In 1979, Li Zehou’s On the History of Modern Chinese Thought was published and received great review. Further, Teresa Teng’s music was lifted the same year… Prior to cultural revolution, with continuing tension between mainland China and Taiwan, the queen of pop song Teresa Teng’s music was banned in China for many years. Next, Wu Guanzhong published his Formal Beauty of Painting which held wide response. In the same year, the April Photography Society, and an underground art groups known as the The No Name began to surface…

Throughout the twentieth century, there may never be a year like 1979 with so many cultural and artistic events. Needless to say, this is an essential historical moment. For this reason, the Star Art Exhibition is often regarded as the real beginning of Chinese contemporary art.

In the 40th anniversary of the Star Art Exhibition, Boers-Li Gallery grandly launches the exhibition River flowing without a Beacon, 1979, curated by Lu Mingjun. The exhibition is named with the same title of the movie River Without Buoys directed by Wu Tianming, which also was extremely controversial in 1979. This is not only a portrayal of an era, but a hope to reawaken the imagination for the future.

More than 50 artists including Feng Guodong, Huang Rui, Hao Jingban, He Xiangyu, Li Xiaobin, ONS, Pu Yingwei, Yu Ji, Yu Youhan, Zhang Peili, and Zhao Gang are invited to participate in this exhibition. More than 100 works and documentary has been selected to constitute together a discourse device with “1979” as the engine. Even if the exhibition is based on “1979”, it is not limited to the artistic, cultural and social changes of that year, but rather a multi-dimensional chain impact between the “pre-1979” and “post-1979”. The components together construct a future-oriented river of flowing art, even if without buoys.

River flowing without a Beacon, 1979
Curator: Lu Mingjun
Dates: 2019.9.14 – 10.20
Address: Boers-Li Gallery | D-06, 798 Art Zone, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China
Artists: Chi Xiaoning, Feng Guodong, Gong Jian, Guo Haiqiang, Guo Haiyan, Guo Hongwei, Hao Jingban, He Baosen, He Xiangyu, Hu Jianping, Hu Jie, Huang Rui, Kang Wanhua, Li Shan, Li Shuang, Li Xiaobin, Li Yingjie, Liao Guohe, Lin Yilin, Ma Desheng, Ma Kelu, ONS, Ou Jin, Pu Yingwei, Qiu Anxiong, Sha Lina, Shi Yong, Shih Yunyu, Tang Pinggang, Tie Ying, Wang Guangyi, Wang Keping, Wang Qiang, Wang Sishun, Wei Hai, Wen Pulin, Wu Guanzhong, Xue Feng, Yan Lei, Yan Li, Yim Sui-fong, Yu Ji, Yu Meihao, Yu Youhan, Zhang Peili, Zhang Wei, Zhao Gang, Zhao Liang, Zheng Ziyan, Zhou Maiyou, Zhu Jia, Zhuang Hui

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XC.HuA Gallery presents the first solo exhibition of Dorothea Reese-Heim in China-足球开户系统 http://www.sohbed.com/xc-hua-gallery-presents-the-first-solo-exhibition-of-dorothea-reese-heim-in-china.html http://www.sohbed.com/xc-hua-gallery-presents-the-first-solo-exhibition-of-dorothea-reese-heim-in-china.html#respond Wed, 11 Sep 2019 02:09:25 +0000 http://www.sohbed.com/?p=102830

XC.HuA Gallery brings the first solo exhibition of the German artist Dorothea Reese-Heim, which covers three important series of works on the artist’s exploration over the past 30 years. It is not easy to generalize an overview of the entire concept of Dorothea Reese-Heim’s artistic creation in the past few decades. Each series of works live a certain degree of continuity while having a diversity. The artist is interested in processes related to materials that pose a challenge and at the same time are aesthetic. The work can be the translucent, the transparent, the light and the shadow, but also the physicality that emerges from the line. The uncovered visual effect reveals the different levels and ideas of creative materials and concepts.

Dorothea Reese-Heim, Archiv Raum Gedachtnis Raum, 2008; Installation, 25x43x26cm Dorothea Reese-Heim, Book, paraf n, carnauba wax, 2004; Installation, 15x8x3cm (each piece) Dorothea Reese-Heim, Book, paraf n, carnauba wax, 2014; Book, paraf n, carnauba wax, 15x8x3cm Dorothea Reese-Heim, Inversionspace 1 & 11, 1992; Aluminum, GFK rod, mirror plane, 75x175x225cm Dorothea Reese-Heim, Versiegelte Schriften, 2019; Installation, 15x7.5x3.5cm Poster of Dorothea Reese-Heim

“Giving an overview of my entire work is not so easy; it lives from the diversity but also from a certain continuity. I am interested in processes related to materials that pose a challenge and at the same time are aesthetic. It is the translucent, the transparent, the light and the shadow, but also the physicality that emerges from the line. The undisguised gaze that reveals processes and reveals different levels. ”

Three work areas that deal with perception and viewing habits will be shown in the XC.HuA Gallery Beijing. An installation focuses on images from the daily press, which are combined into an archive and a space of memory. In a second installation, the mirror image ‘Spiegelfechter’ (mirror fencer) is portrayed and at the same time the view of the sky is brought to earth. The third part deals with the memory of words. Writing as a metaphor for thoughts and stories. ‘Versiegelte Schriften’ (Sealed Writings) are books that can never be read or opened. ”

About the exhibition

Dates: Sep 14, 2019 – Nov 3, 2019

Opening: Sep 14, 16:00

Venue: XC.HuA Gallery

Courtesy of the artist and XC.HuA Gallery, for further information please visit https://galerie-xchua.com.

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Zhang Yanzi’s latest solo exhibition in Australia featured her new series of “Hormones”-足球开户系统 http://www.sohbed.com/zhang-yanzis-latest-solo-exhibition-in-australia-featured-her-new-series-of-hormones.html http://www.sohbed.com/zhang-yanzis-latest-solo-exhibition-in-australia-featured-her-new-series-of-hormones.html#respond Tue, 10 Sep 2019 02:44:05 +0000 http://www.sohbed.com/?p=102780 Poster of Zhang Yanzi

Hormones

Hormones, (from Greek Polytonic|?ρμ? impetus ) are chemicals released by cells that affect cells in other parts of the body.

Does this impetus, originate from instinct or will?

Are Hormones physical or spiritual?

When something exists in our bodies, it seems to be invisible. Only when it recedes from the body, can you find its fading way, or slightly figure out its shape.

Hormones in my eyes, are colorful.

 

Zhang Yanzi

8th?July, 2019

Zhang Yanzi, an artist that currently works at the Central Academy of Fine Arts, introduces a new solo ink and wash exhibition, Hormones?which continues her long-standing interest in the connection between life and the world, as well as her?interpretations?themed on “life and remedy” using a rich artistic language that has been her style for many years. The exhibition was co-organized by the Victoria Artists Society and HUAAO International Media and it was presented at the Gallery of Victoria Artists Society. The word “Hormones” is quite eye-catching but actually it stems from a life experience as it originates from a box of oval hormone stickers sent to her by a friend, which made her start to consider this mysterious thing.

Zhang Yanzi, Hormones 067, 2019; Ink and color on paper, 68×68cm Zhang Yanzi, Hormones 068, 2019; Ink and color on paper, 69×68cm Zhang Yanzi, Hormones—Rhombus, 2019; Ink and color on paper, 124×124cm Zhang Yanzi, Hormones—Square, 2019; Ink and color on paper, 124×124cm Zhang Yanzi, Hypnosis 23'8'', 2017; Ink and color on paper, 96×96cm Zhang Yanzi, Pistils 01, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Pistils 02, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Pistils 04, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Pistils 05, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Pistils 06, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Red Pistils 03, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Red Pistils 04, 2019; Ink and color on paper, 40×40cm Zhang Yanzi, Blue Heart 01, 2013; Ink and color on paper, 40×40cm Zhang Yanzi, Blue Heart 02, 2013; Ink and color on paper, 40×40cm Zhang Yanzi, Heart, 2013; Ink and color on paper, 180×110cm Exhibition View 02 Exhibition View 03

It is hard to detect hormones when they are in our body, but when they leave the body, we find that we once owned them. This triggered her to think, are the hormones material or spiritual? Is it an instinct or is it decided by one’s will? For the artist Zhang Yanzi, art is a process of continuous exploration. As a creator, she has been searching for infinity, a more mysterious and far-reaching logic of the universe from a limited life experience.

As Ms. Zou Bin, the cultural consul of the Chinese Embassy in Melbourne, said that there are 400,000 Chinese living in Melbourne, the demand for Chinese culture is endless. This exhibition did not just feature new creations that have been explored from the ancient ink language and realized through contemporary transformation, but it also reflected the future of Chinese art – the use of cross-cultural, cross-media thinking and new media language.

About the artist

Zhang Yanzi?was born in Zhenjiang, Jiangsu Province. Graduated from the Central Academy of Fine Arts, Zhang got her MFAs in both Chinese Painting and Literature. She is currently based in Beijing and she works?at the Central Academy of Fine Arts?and serves as a tutor for graduates. Her solo exhibitions were held respectively at Shanghai Art Museum, Today Art Museum, PAN, Palazzo delle Arti di Napoli, Hong Kong Museum of Medical Sciences, Surgeons’?Hall Museums and Museum of East Asian Art (MEAA). Besides, her works have been included in the collections of many art institutions and private collections.

Selected Exhibitions

2019

SECLUSION: Zhang Yanzi Solo Exhibition at?Galerie Ora-Ora, Hong Kong;

Medi-Chip and?Sugar, included in “Reviewing Freehand Brushwork: First Academic Exhibition of Chinese Contemporary Ink Painting”?at Lingnan Museum of Fine Art, Dongguan, China;

2018

0000000?included in “New Ink Art in China 1978-2018”?at Beijing Minsheng Art Museum, Beijing, China;

Medi-Chip and?Prescriptions,?included in “2018 Chinese Contemporary Ink Painting Exhibition: Ink and Wash Painting, A Cultural Gesture”, at Central Academy of Fine Art, Beijing, China;

A Quest for Wellness: Zhang Yanzi Solo Exhibition at the Museum of East Asian Art (MEAA), Bath, U.K.;

A Quest for Healing: Zhang Yanzi Solo Exhibition?at Surgeons’?Hall Museum, Edinburgh, U.K.;

2017

Sugar, participated in the exhibition “PERSONAL STRUCTURES”?included in the biennale project organized by European Cultural Centre, Venice;

The Ecstasy: Zhang Yanzi Solo Exhibition at Feefan’s Art, Beijing, China;

The Remedy included in Florence Biennale in Italy?and awarded with “Grand Prize of Mixed Media”, Florence, Italy;

Infinite?series included in “Loom”at Suzhou Jinji Lake Art Museum and served as the Co-curator, Suzhou, China;

Excess?included in the Group Exhibition “The Silk Road and Celestial Clothes” at the Art Gallery of Imperial Ancestral Temple and served as the Co-curator, Beijing, China;

Zhang Yanzi Solo Project?included in Volta New York 2017, New York, U.S.A.;

2016

The Breathable included in The Third 足球开户系统M Biennial “Negotiating Space: I Never Thought You Were Like That”, Beijing, China;

Essence: Zhang Yanzi Solo Exhibition at Hong Kong Museum of Medical Sciences, Hong Kong?(Hong Kong Museum of Medical Sciences ×?Galerie Ora-Ora);

2015

The Remedy—The Galaxy included in “Painting the Present”?at the Certosa di San Giacomo, Capri in Italy;

The Antidote: Zhang Yanzi’s Exhibition?at 5art, Guangzhou, China;

The Remedy?included in?Insights, Art Basel Hong Kong, sponsored by Galerie Ora-Ora, Hong Kong;

2014

THE REMEDY: Solo Show of Zhang Yanzi at PAN, Palazzo delle Arti di Napoli, Italy;

2013

The Remedy?was awarded the Best Artwork of 2013 Lu Xun Culture Awards,?Beijing, China;

The Remedy, solo show at Today Art Museum, Beijing, China;

Qi (Flow of Energy) included in?The Grand Canal: Collateral Event of the 55th?International Art Exhibition—La Biennale di Venezia, Italy;

2010

Walk While Stepping on the Gauze: Solo Exhibition of Zhang Yanzi, Shanghai Art Museum, Shanghai, China;

2008

Solo Exhibition?held at Cité Internationale des Arts in?France;

2005

Airs of the States, Courtly Songs, and Hymns, the 2nd?Beijing International Art Biennale, Beijing, China;

2004

Red Rose and White Rose,?the 10th National Art Exhibition, Bronze Prize, Beijing, China;

Slow, Slow Tune, the 10th National Art Exhibition, Beijing China.

Courtesy of the artist and 足球开户系统 ART INFO

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Star Gallery presents “I Love Beijing New Wave”-足球开户系统 http://www.sohbed.com/star-gallery-presents-i-love-beijing-new-wave-in-beijing.html http://www.sohbed.com/star-gallery-presents-i-love-beijing-new-wave-in-beijing.html#respond Tue, 10 Sep 2019 01:16:18 +0000 http://www.sohbed.com/?p=102810

Star Gallery presents the first group exhibition since its return to the 798 Art Zone —?I Love Beijing New Wave. It features the works of Chen Ke, Teppei Kaneuji, Liu Xiaohui, Song Kun, Wen Ling, Wang Yifan, Zhao Bandi, Zhou Yilun, as well as Pang Kuan and Peng Lei from the New Pants.

Beside the Nouvelle Vague of the French art cinema and the rock music of the post-punk period in the 20th century,?the term “New Wave” has been, so to speak, entitled to many more connotations in different fields. It is a cultural notion that cannot be defined in a singular way; a slogan, as it were, that is related to people’s pursuit of freedom and more personalized expression.

The art world of China underwent the ‘85 New Wave at the beginning of the country’s reform and opening up in the 1980s. This first surge of the “New Wave” in China was marked by the?China/Avant-Garde Exhibition?at the National Art Museum. The climax of the movement, however, also put an end to it as two gunshots were fired in the showroom. In November 2017, the 21-year-old News Pants thrilled its fans with a retrospective —?China New Wave. In 2019, thanks to the hit online show Big Band, the band’s vocal Peng Lei has drawn a sudden popularity with his straightforwardness and simple but clear attitude, and was thereby lionized by the mainstream media. Is the “New Wave” still a rippling undercurrent? It is a topic that?I Love Beijing New Wave?would like to re-discuss, together with a series of screenings, conversations?and?parties during the exhibition, hoping to give a certain possibility to the art of China in the name of the “New Wave”.

About the exhibition

Dates: Sep 7, 2019 – Nov 30, 2019

Venue: Star Gallery

Courtesy of the artists and Star Gallery, for further information please visit www.stargallery.cn.

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When Art Comes to Life—Hungarian Contemporary Art Exhibition Opening at Shanghai Duolun Museum of Modern Art-足球开户系统 http://www.sohbed.com/when-art-comes-to-life-hungarian-contemporary-art-exhibition-opening-at-shanghai-duolun-museum-of-modern-art.html http://www.sohbed.com/when-art-comes-to-life-hungarian-contemporary-art-exhibition-opening-at-shanghai-duolun-museum-of-modern-art.html#respond Mon, 09 Sep 2019 07:01:36 +0000 http://www.sohbed.com/?p=102766 Poster

To celebrate the 70th anniversary of diplomatic relations of Hungary and China as well as to promote cultural exchanges between the two countries, On Celebrating the 70th Anniversary of Diplomatic Relations of Hungary and China: When Art Comes to Life-Hungarian Contemporary Art Exhibition, cohosted by Consulate General of Hungary in Shanghai and Shanghai Duolun Museum of Modern Art will grandly launch in Shanghai Duolun Museum of Modern Art from 11th, September to 10th, October, 2019.

As an important cultural and art exchange program to celebrate the 70th anniversary of the establishment of diplomatic relations between Hungary and China, Consulate General of Hungary in Shanghai in cooperation with Shanghai Duolun Museum of Modern Art will present the audience 69 pieces of photography and painting works from 4 excellent Hungarian artists, which highlights the unique creative inspiration and rich artistic expression of Hungarian contemporary artists and also fully displays the artistic and cultural features of Hungary to the Chinese public.

Bán Sarolta, Untitled (01), 2010; Photography, 70x50cm Bán Sarolta, Untitled (02), 2010; Photography, 70x50cm Barakonyi Zsombor, Octagon Square Tuesday 10th Anniversary Edition, 2019; Painting, 100x150x3.5cm Barakonyi Zsombor, Pink Nassia, 2019; Painting, 100x150x3.5cm Flóra Borsi, Flamingo, 2016; Photography, 100x100cm Marcus Goldson, A Canvasser, 2018; Painting, 70x90cm Marcus Goldson, Simple Ruin Bar, 2016; Painting, 70x90cm Poster

The four artists represent different aspects of life in Hungary. Barakonyi Zsombor’s paintings capture the cosmopolitan quality and peculiar timelessness of urban living, giving you the chance to immerse into the rarely sensed colourful reality of everyday life. Borsi Flóra’s photography pieces welcome you to enter her fantasy. Bán Sarolta captures the emotional sensitivity of the younger generation, revealing how hard to cope with life in the real world. Goldson Marcus perfectly interprets and presents the life in Budapest.

The wonderful works of the artists show the Hungarian art and life in multiple dimensions. Meanwhile, animation and sound works are specially introduced according to the exhibits to bring multiple visual and auditory experiences to the public. When the audience enters into the exhibition room, it feels like entering the colorful life of Hungary. Through this exhibition, Shanghai Duolun Museum of Modern Art, together with Consulate General of Hungary in Shanghai have built an artistic and cultural bridge between China and Hungary. Chinese and Hungarian people are meeting here in spirit, connecting with art and making their voices heard through art.

It is reported that the exhibition will not end until 10th, October, 2019.

About the exhibition

Dates: Sep 10, 2019 – Oct 10, 2019

Venue: Shanghai Duolun Museum of Modern Art

Courtesy of Shanghai Duolun Museum of Modern Art.

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The Victoria Artists Society presents Shen Cai’s debut solo exhibition in Australia-足球开户系统 http://www.sohbed.com/the-victoria-artists-society-presents-shen-cais-debut-solo-exhibition-in-australia.html http://www.sohbed.com/the-victoria-artists-society-presents-shen-cais-debut-solo-exhibition-in-australia.html#respond Mon, 09 Sep 2019 03:24:58 +0000 http://www.sohbed.com/?p=102734

Recently, an emerging artist Shen Cai made her debut in Australia with her solo exhibition 1n. The exhibition was co-organized by the Victoria Artists Society and HUAAO International Media, and it showcases recent works by the artist. Shen Cai has just graduated from the School of Design, Central Academy of Fine Arts, and she introduces us to a way of thinking and creativity of Chinese post-90s artists.

It is well known that the result of?nth?power to 1 is equal to 1, although it is essentially “always consistent” but this 1 is different from the original one. Just like her latest video multimedia creation, “Stay Alone Together”, Stay Alone and Together are a pair of antonyms, just like the two separate “selfs” in her body. They are different from each other but coexist in one body. They live without interference, but they are indispensable. In this work, the artist makes use of a space such as a mattress as her media, which is most often in contact with the human body, creates a space where two “egos” live together. Through the images, sounds, and simulation the different degrees of the body on the mattress, the two “egos” coexist, struggle, accommodate, and avoid each other in the body.

Shen Cai, Astigmatism 750 (details 01), 2019; Paintings on Silk Layers Shen Cai, Astigmatism 750 (details 01), 2019; Paintings on Silk Layers Shen Cai, Astigmatism 750 (details 01), 2019; Paintings on Silk Layers Shen Cai, Astigmatism 750 (details 01), 2019; Paintings on Silk Layers Shen Cai, Astigmatism 750 (details 01), 2019; Paintings on Silk Layers Shen Cai, Astigmatism 700 03, 2017; Paintings on Silk Layers Shen Cai, Astigmatism 750 01, 2019; Paintings on Silk Layers Shen Cai, Astigmatism 750 (details 06), 2019; Paintings on Silk Layers Shen Cai, Stay Alone Together 01 Shen Cai, Stay Alone Together 02 Shen Cai, Stay Alone Together 03 Shen Cai, Stay Alone Together 04 Exhibition View of 1n Shen Cai Solo Exhibition 01 Installation View at the Victoria Artists Gallery Poster of 1n

Another example is the series of “Astigmatism 700”?that she brought to this exhibition. This is a project that has recently been in continual development. Each piece of the “Astigmatism 700” series is superimposed with five layers. The behavior of painting layer by layer is a process of accumulating time and space. The illusory visual experience suggests that the dimension of our time is thus compressed. On the contrary, our “existence” itself, is also the constant momentary overlapping of the changing movement. “Do we really exist in the scale of time?” Young artist, Shen Cai starts from the “self” represented by “1”, providing the audience with a more open proposition and more possibilities.

As Ms. Zou Bin, the cultural consul of the Chinese Embassy in Melbourne, said that there are 400,000 Chinese living in Melbourne, the demand for Chinese culture is endless. These solo exhibitions include new creations that have been explored from the ancient ink language and realized through contemporary transformation. What is more surprising is the future of Chinese art – the use of cross-cultural, cross-media thinking and new media language as presented by the new generation of young Chinese artists.

About the artist

Shen Cai

Born in December, 1996, in Jiangsu?Province, China.

She now lives and studies in New York.

Education

September 2015–June 2019, China Central Academy of Fine Arts, Beijing(abbr. 足球开户系统), China;

August 2019–Now, Parsons School of Design at the New School, New York, U.S.A.

Selected Exhibitions

2019

1n, Solo Exhibition at Gallery of the Victorian Artists Society, Melbourne, Australia;

2019 足球开户系统 Graduation Exhibition, 足球开户系统 Art Museum, Beijing, China;

2018

The 足球开户系统 Graduation Design Panel Exhibition, at the Design Gallery, 足球开户系统, Beijing, China;

“Diary”?included in “CAI Young Artist Laboratory Project” in Edinburgh Art Fair, Edinburgh, U.K.;

Future Unknown Global Education Plan: Exhibition for Practical Stage, at the Design Gallery, 足球开户系统, Beijing, China;

Annual Excellent Artworks Exhibition, at the Design Gallery, 足球开户系统, Beijing, China;

2017

Group Exhibition 2117+, Gauguin Gallery, Beijing, China;

Annual Practical Artworks Exhibition, at the Design Gallery, 足球开户系统, Beijing, China;

Courtesy of the artist and 足球开户系统 ART INFO

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足球开户系统·LUCION: Exhibition “Excellent Works from the National Youth and Children Painting Competition” was Unveiled-足球开户系统 http://www.sohbed.com/cafa%c2%b7lucion-exhibition-excellent-works-from-the-national-youth-and-children-painting-competition-was-unveiled.html http://www.sohbed.com/cafa%c2%b7lucion-exhibition-excellent-works-from-the-national-youth-and-children-painting-competition-was-unveiled.html#respond Fri, 06 Sep 2019 07:45:16 +0000 http://www.sohbed.com/?p=102703  Exhibition View

Building up the positive cognitive value of children’s art education and cultivating kids’ ability in terms of creative thinking and formative expression, the exhibition showcases the significance for future Chinese generations while?realizing?the Chinese Dream of national rejuvenation. In the reply from President Xi Jinping to eight senior professors of Central Academy of Fine Arts, Xi emphasised the reinforcement of aesthetic education. Art education is an important component of aesthetic education, which could facilitate the shaping of a beautiful mind. As a general education, the ultimate aim of art education points to the development of children’s personality and creativity.

At 2:30pm on 29th?August 2019, the exhibition?“足球开户系统·LUCION: Excellent Works from National Youth and Children Painting Competition”?commenced, together with the launch of the book “The Research Report on Art Education Achievements”. After a recruitment period of artworks?over two?months through?three appraisals and a selection process, the judges have chosen 130 finalists from nearly 10,000 works, of which 92 received awards. In addition, the organizer also issued special awards to institutions and individuals who actively participated in this competition. All of these 130 artworks are exhibited in the western exhibition hall of the 足球开户系统 History Museum.

Exhibition View Exhibition View Exhibition View Exhibition View Outside View of Exhibition Gao Hong, Party Secretary of 足球开户系统, and Fan Di’an, President of China Artists Association and President of Central Academy of Fine Arts, were viewing the exhibition Fan Di’an, President of China Artists Association and President of Central Academy of Fine Arts was commenting the works Feng Haitao, Dean of the School of Continuing Education at 足球开户系统, hosted the opening ceremony Fan Di’an, President of China Artists Association and President of Central Academy of Fine Arts, delivered a speech in the opening ceremony Fan Di’an, President of China Artists Association and President of Central Academy of Fine Arts, delivered a speech in the opening ceremony Fan Di’an, President of China Artists Association and President of Central Academy of Fine Arts, delivered a speech in the opening ceremony Jiang Dong, President of LUCION Labor Union and Vice Chairman of LUCION Public Welfare Foundation, delivered a speech in the opening ceremony View of Awarding View of Awarding View of Awarding View of Awarding View of Awarding View of Awarding View of Awarding Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View

Gao Hong, Party Secretary of 足球开户系统, Fan Di’an, President of China Artists Association and President of Central Academy of Fine Arts, Wang Shaojun, Deputy Party Secretary of 足球开户系统, Jiang Dong, President of LUCION Labor Union and Vice Chairman of LUCION Public Welfare Foundation, Pan Chenghui, President Assistant of 足球开户系统 attended the event. The opening ceremony was hosted by Feng Haitao, Dean of the School of Continuing Education at 足球开户系统. After Mr. Fan Di’an and Mr, Jiang Dong’s speeches at the opening ceremony, leaders from various departments, experts and judges of this competition awarded prizes to the selected winners.

In order to demonstrate the social responsibility and spirit of state-level collage and large-scale state-owned enterprises, “足球开户系统·LUCION: National Youth and Children Painting Competition” co-organised by 足球开户系统 and LUCION officially issued a national open-call for works on 12th?May 2019. The closing date was 26th?July 2019, the official publicity of this competition has been viewed more than 600,000 times, and 20,000 people have registered to participate. A total of 9,528 works by Chinese citizens from 33 countries and regions around the world were received by the organising committee. Specifically, 7,726 works are from individuals, while 1,838 works are from various institutions (including rehabilitation centers for special and autism children). According to the comprehensive registration chart and the ranking of visits, participants from Beijing, Shandong, Hebei, Guangdong presented outstanding performances. The highest proportion of participants are from Beijing, while the dissemination of this event is maximized in Shandong.

The purpose for 足球开户系统 to organize this competition is to promote the healthy development of aesthetic youth education and Children’s art through the innovative model of “Selection?– Guide – Interaction – Accompanying Growth”. The organising committee invited tutors from 足球开户系统 and national experts on children’s art education to serve as the initial evaluation judges. Experts, scholars and professors nationwide were invited to take charge of the final evaluation, including Yang Jingzhi, Yin Shuangxi, Qiao Xiaoguang, Jin Rilong, Chen Shuxia, Wang Huaxiang, Jiang Dong, Wang Chuan, Zhang Yanzi, Tang Hui and Hu Xidan among others.

In the seminar after the final evaluation, judges exchanged their ideas regarding the paintings of this competition, the development of Children’s art education as well as the joint promotion of art education by the college and society. Yang Jingzhi, Professor of the College of Fine Arts at Capital Normal University and Honorary President of China Association for Children’s Arts, holds the view that, fine arts showcase different characters from other art courses, such as music and dance which require techniques in teaching and basic skills in learning and practice. Children’s painting is not in this case?as kids are born to paint. She believes that Children’s paintings are not about the education of professional techniques, and children are not the community that expects technique teaching. Qiao Xiaoguang, Professor of the School of Humanities at 足球开户系统 and Doctoral Supervisor, pointed out that one of the most prominent problems in China regarding children’s art education lies in the ethical aspect. It is not the result of teaching but the nature of children that they can and need to sketch and paint by the age of six to seven for healthy growth. The idea is not only about the educational ethics, but also related to the incomplete aspect in the field of ordinary people’s cognitive thinking outside professional art circles.

More research results on art education and the award-winning works of the competition are organised into the book “The Research Report on Art Education Achievements”, with a total of 30,000 words and more than 200 pictures. By comprehensively using the methods of comparison, analysis, induction and deduction as well as referencing the law of child psychological development, this report conducted a comprehensive analysis of representative works and phenomena concerning youth and children’s art education.

As Mr. Fan Di’an mentioned in his article “Promoting the Spirit of Chinese Aesthetic Education in Art Education” that 足球开户系统 in the new era should bear more responsibility for social art education, strives to produce and disseminate artworks that represent the spirit of Chinese culture and reflects on Chinese people’s aesthetic pursuit. The popularization of social art education is also included in this responsibility. The successful organization of this event means that 足球开户系统 and LUCION have taken a solid step in promoting the development of children’s art and the?significance?of national art education.

Mr. Jiang Dong mentioned that the joint organization of the “National Youth and Children Painting Competition” is another measure taken by LUCION to promote juvenile art education. LUCION and 足球开户系统 will continually hold this event and strive to develop it to a high-impact public welfare cultural brand. By doing so, they hope to establish an academic standard to promote the development of national children’s aesthetic education.

Art nourishes the soul, opens up ideas and awakens expressions. The essence of energy and instinct power?from?the painting by kids can be viewed in the works in this exhibition. The organising committee wishes the young painters a broader way of art creation and a bright future.

The exhibition remains open till the 15th?September 2019.

Text by Emily Weimeng Zhou

Edited by Sue/足球开户系统 ART INFO

Exhibition View by Hu Sichen

Photo with watermark courtesy of the organizer

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Exhibition “Depths of Experience: New Media and Installation Art” Commenced-足球开户系统 http://www.sohbed.com/exhibition-depths-of-experience-new-media-and-installation-art-commenced.html http://www.sohbed.com/exhibition-depths-of-experience-new-media-and-installation-art-commenced.html#respond Fri, 06 Sep 2019 06:25:30 +0000 http://www.sohbed.com/?p=102665

The body may be understood as the “receiver” of signals from the outside world: the senses are organs?which are stimulated by external things that include eyes, ears, nose, tongue, and flesh. We employ all the senses to get in touch with our complex and multiplicitous surrounding world. Within this space, there are?objects rooted in reality or conceived in our minds: a human body, a city, a continent, a thought. In addition to the senses, many people even believe in “super sensory perception,” which encapsulates electrocardiography, inspiration, remote vision, and foresight. Research related to these sense signals?from?both the past and the future of basic human behaviours are?closely related to everyone.

Consciousness calculates and processes signals in a neural network. Though confronted with the same circumstances, each individual produces different feelings—the disparate result of differences within individual consciousness being decoded by different arithmetic methods. This creates “causality,” as a means to enrich the native world, and once again act on the senses,?by building an infinite circulatory system located between “sense” and “knowing.” Today, as network and mobile devices are fully integrated into our everyday lives, technology has become another important sensory mode which processes information, expanding the way our circulatory cognitive system sends and receives messages.

Group Photo of Honored Guests Jin Jun, Vice Dean of the School of Design at 足球开户系统, delivered a speech in the opening ceremony Liang Xiaodan, Director of the China World Mall, delivered a speech in the opening ceremony Fang Ming, CEO of Forun Art, delivered a speech in the opening ceremony Curator Chen Yufeng introduced the exhibition in the opening ceremony View of Opening Ceremony Curator Chen Yufeng introduced the exhibition to visitors Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Poster

On 30th?August, hosted by the China World Mall and Forun Art, the exhibition “Depths of Experience: New Media and Installation Art” was unveiled in the New District of China World Mall. By featuring eight emerging contemporary artists and their multimedia artworks, this exhibition would like to challenge the?stereotype?model of immersive displays in shopping malls and commercial complexes. Curator Chen Yufeng motioned that he would like to awaken visitors’ active and creative thinking through this innovative and multidimensional exhibition.

This exhibition includes the work of eight contemporary Chinese artists, all?of them?research global values along with their own personal life experiences. Emerging from varied creative practices that resulted in prior works, each has employed individual “perception” as a starting point in the creation of a new body of work exhibited in this space. Through the language of new media and installation art, the exhibition engages in an in-depth discussion about the depths of experience in relationship to light and shadow, dreams, environment, memory, distance, body, time and space, and materials.

The exhibition remains open till the 30th?October 2019.

About the Exhibition:

Duration:?2019.8.30—2019.10.30

Venue:?SL1030, South District of China World Mall, No.1 Jianguomen, Chaoyang District, Beijing

Art Consultant:?Jin Jun

Curator: Chen Yufeng

Artists:?Wan Duoyun, Ouyang Sulong, Zhang Xizhong, Tian Xiaolei, Zhang Ying, Wang Man, Ge Yajing, Zhang Jiaxing,

Host:??The China World Mall

Exhibition Undertaken by:?Forun Art

Exhibition co-operation undertaken by:?Brand Head

Edit by Emily Weimeng Zhou

Courtesy of the organizer

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Echo of Aesthetic Education—The Art of Grand Beauty: The Central Academy of Fine Arts’ Influence on Art Creation and Education-足球开户系统 http://www.sohbed.com/echo-of-aesthetic-education-the-art-of-grand-beauty-the-central-academy-of-fine-arts-influence-on-art-creation-and-education.html http://www.sohbed.com/echo-of-aesthetic-education-the-art-of-grand-beauty-the-central-academy-of-fine-arts-influence-on-art-creation-and-education.html#respond Thu, 05 Sep 2019 08:27:10 +0000 http://www.sohbed.com/?p=102642

The centurial celebration of the Central Academy of Fine Arts has undergone developments in aesthetic?education over a century.?One year after President Xi Jinping replied to the letter from senior professors of 足球开户系统, the academy presents the exhibition of “The Art of Grand Beauty: The Central Academy of Fine Arts’?Influence on Art Creation and Education”. For the first time, 足球开户系统 has organized the art achievements of 足球开户系统 over the last century from the perspective of aesthetic?education, and manifests the rich meaning and value of “Art of Grand Beauty”.

Chinese society underwent a grand development during the last century.?It is at this time that 足球开户系统 teachers and students carried the cultural mission of the people on their shoulders, responded to the society’s aesthetic expectations, created a great number of outstanding artworks that show the Chinese people’s yearning for things of beauty, a life of beauty and state of beauty, and this was manifested in the positive influence on society and art education. Many works have now become modern Chinese classic art, collected by museums and galleries, exhibited in the public space, and are playing a positive role in building social and cultural atmospheres thus meeting people’s cultural needs and raising the public’s aesthetic level.

This exhibition looks back on 足球开户系统’s creation in the past hundred years, accumulates a large number of classic works by 足球开户系统 teachers and students, and for the first time categorizes and organizes 足球开户系统’s classic art practice and influence on art education. The exhibition is divided into six sections: The Beauty of Cultural Enlightenment; The Beauty of Righteous Resistance; The Beauty of the Orient; The Beauty of Labor; The Beauty of Nature and The Beauty of the New Era. It shows the “Art of Grand Beauty”?created by 足球开户系统M in multiple dimensions. Meanwhile, there is also a large format catalogue in the same name being published.

Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education Exhibition View of The Art of Grand Beauty The Central Academy of Fine Arts' Influence on Art Creation and Education

The First Section: The Beauty of Cultural Enlightenment reviews the ideal of aesthetic?education in the early stage of Chinese modern art education. In the context of the May Fourth New Culture Movement, modern art education has a distinct sense from the very beginning, especially the ideal of cultural enlightenment that permeates art creations.

The Second Section: The Beauty of Righteous Resistances showcases the magnificent chapters that Chinese fought against aggression, striving for national independence and liberation.

The Third Section: The Beauty of the Orient includes classics works from the early days since the founding of the People’s Republic of China in 1949. Reflecting the changes over time, shaping the images of the country have become the conscious responsibility of faculty and students of the Central Academy of Fine Arts, they have created a large number of works featured by public aesthetic value, which exerts the most extensive role of aesthetic?education.

The Fourth Section: The Beauty of Labor presents many classic masterpieces featuring the working people under the guiding principle that fine arts serve the people in the People’s Republic of China.

The Fifth Section: The Beauty of Nature reflects artists’ love for natural beauty and life. After 1949, the faculty and students of the Central Academy of Fine Arts have insisted on endowing the natural heaven and earth with the symbolic meaning of the epoch in their creations.

The Sixth Section: The Beauty of the New Era shows the artistic achievements by the Central Academy of Fine Arts since the reform and opening up, especially in the new era. The Central Academy of Fine Arts adheres to the promotion of fine arts traditions, advocates of art exploration and innovation, thus provides abundant new resources for social art education which has greatly expanded the dimension of social aesthetics in the new era.

Preface

By Fan Di’an, President of 足球开户系统

At the 100th anniversary of Central Academy of Fine Arts, President Xi Jinping replied to the letter of 足球开户系统’s senior professors. In the letter, he spoke highly of the devotion of the older generation of art masters and educators in art creation and education, he pointed out that art education is an important component of aesthetic education, raised the idea that we should further strengthen the aesthetic educational spirit, and indicated the direction for art education in the new era.

The road of 足球开户系统 in the past century, as well as the road of Chinese art education and creation, is also a century-old road of aesthetic education. In the radically changing 20th century Chinese society, the ideal of beauty, creation of beauty, dissemination of beauty and acceptance of beauty always carry the cultural mission of Chinese artists and aesthetic expectations of the people, embodies Chinese people’s yearning for things of beauty, life of beauty and state of beauty, and becomes the representation of the artworks’ social function and artistic value.

In 1918, the founding of the former 足球开户系统—the National Beiping Art College—marks the birth of modern art education, and brewed the environment to create aesthetic education and its promotion; in 1938 the Lu Xun Academy in Yan’an was founded. The revolutionary art opened a new route for art that serves the people, which led to the further development of aesthetic education. From that time to today, 足球开户系统 has seen a great number of art masters, who have created plenty of excellent artworks. Generations of teachers and students’ art creations not only have pushed Chinese art forward in the past century, but also provided nourishment for the mind for society, and played an important role in influencing and encouraging people.

The Reform and Opening-up has opened a new bridge that connects Chinese art to the world. As 足球开户系统 is a significant platform for the exchange of Chinese and international art, its teachers and students have always had a broad horizon and dynamic ideas. They stand in the forefront of the academic world while adhering to rational research, carrying on promoting the excellent Chinese cultural tradition and spirit of Chinese aesthetic education, positively exploring new art languages and new aesthetic space, and showing creative vigor in the fine art academy with new creative concepts and methods.

As the Socialism with Chinese Characteristics has now entered a new era, the development of society is expecting more of aesthetics. 足球开户系统 has taken the opportunity to adjust its majors, form new disciplinary structure, make the four disciplines in plastic arts, design, architecture and humanities mutually complementary, and brings their advantage into full play in terms of serving the development of the economy and society. From the creation of works with grand themes, to the representation of lives of the times, from urban design to architecture design, from visual communication design to public product design, from the study of aesthetic history to the construction of art theories, there are constantly new achievements, as well as new contributions in the dissemination of beautiful art.

In the past century, many works created by 足球开户系统 teachers and students, especially the grand masters, have become the classic art of modern China, collected by museums and galleries, exhibited in the public space, and play a positive role in building a social and cultural atmosphere, meeting people’s cultural needs and raising the public’s aesthetic level. It has been proved that only in ?people’s appreciation that an excellent artwork could last.

Looking back on art practice’s social benefits and cultural value from the perspective of aesthetic education, we stand even more firmly with the direction of Chinese art and art education in the new era. Like what President Xi said in his reply: We should carry forward the good tradition of loving the country and serving the people, upholding virtue and appreciating art, to educate the students with a heart of big love, and create works with the art of grand beauty, to keep in step with the times, to focus on the people, to serve the people with great works, to lead the trend with enlightened ideas and moral deeds, and to make new contribution to the development of aesthetic education in China with the cultivation of art talent and the creation of art.

August 2019

Courtesy of 足球开户系统 Art Museum, Edited by Sue and Photo by Hu Sichen/足球开户系统 ART INFO

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Rockbund Art Museum presents its special annual program “RAM HIGHLIGHT 2019: Before the Whistle Blows”-足球开户系统 http://www.sohbed.com/rockbund-art-museum-presents-its-special-annual-program-ram-highlight-2019-before-the-whistle-blows.html http://www.sohbed.com/rockbund-art-museum-presents-its-special-annual-program-ram-highlight-2019-before-the-whistle-blows.html#respond Wed, 04 Sep 2019 07:01:30 +0000 http://www.sohbed.com/?p=102637

From September 13?to September?22, 2019, Rockbund Art Museum will host its special annual program?RAM HIGHLIGHT 2019:?Before the Whistle Blows, curated by?Hsieh Feng-Rong,?Senior Curator of the Rockbund Art Museum. From the light in?daybreak to the neon?in?deep night, from historical memories to moments of the everyday, the rhythms of nine artists or?collectives will intertwine and overlap one another within the museum space, as sentiments and backgrounds that are worlds apart will sound together in resonance.

The fourth installation of RAM HIGHLIGHT,?Before the Whistle Blows, continues the “use of performance as a means” in the planning of the program, commissioning as well as supporting artists in the creation of completely new works, in order to facilitate existing artistic practices which do not conform to any current art genre. The program will comprise of multiple art forms such as?video,?photography, 360-degree virtual reality installations, song and dance performances, chanting rituals, durational performances, and a bar for chatting. RAM HIGHLIGHT?aims to go beyond the boundaries of traditional exhibition-making, to reconstruct the relationship between the viewer and art. In the duration of the program, the museum will also invite interaction with visitors through educational events such as symposiums and post-performance talks. As such, museum visitors will have the opportunity to converse with artists after performances, and to partake in deeper discussion and understanding.

“Before the Whistle Blows”?gives us a sense of time; however,?it is an indefinite sense of time. We do not know whether it is the start or the end when the whistle blows, but does it matter? What is more important is the period of waiting, before everything starts/ends. At this moment, time is extended, and we can clearly feel the complex emotions, which can be excited, angry, happy, sad, numb, fear, warm, passionate… The world is still fast spinning in this era of chaos, misinformation and disintegration, and we desperately need a moment to stop and watch the changes in the flow of time while examining?ourselves. —Hsieh Feng-Rong

About the exhibition

Dates: Sep 13, 2019 – Sep 22, 2019

Curator: Hsieh Feng-Rong

Artists: Dai Chenlian, Ho Tzu Nyen, IsLand Bar, Christian Jankowski, Lee Kit, River Lin, Senyawa, Wu Meng, Yang Yuanyuan, Zhao Chuan

Venue: Rockbund Art Museum

Address: 20 Huqiu Road, Huangpu District, Shanghai

Courtesy of the artists and Rockbund Art Museum, for further information please visit www.rockbundartmuseum.org.

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Independent Art Spaces announces its forth edition beginning on September 6-足球开户系统 http://www.sohbed.com/independent-art-spaces-announces-its-forth-edition-beginning-on-september-6.html http://www.sohbed.com/independent-art-spaces-announces-its-forth-edition-beginning-on-september-6.html#respond Wed, 04 Sep 2019 06:31:50 +0000 http://www.sohbed.com/?p=102632

Independent Art Spaces (IAS) is pleased to announce its fourth edition from 6 – 8 September 2019. This year, IAS festivities begin at Aotuspace on 6 September with the launch of the IAS MAP 2019, and continue over the weekend (7 – 8 September) with a series of professional development workshops hosted at I: project space. There are 24 domestic spaces and 10 international spaces from Germany, Australia, Switzerland and Japan participating in this year’s festival.

About Independent Art Spaces

Independent Art Spaces (IAS) is a network that seeks to unite Beijing’s patchwork of alternative, non-profit and non-commercial galleries in the spirit of sharing knowledge and purpose. Each year, Independent Art Spaces selects a different theme for public events towards the end of summer.

Beijing is the petri dish for a growing network of new and alternative art platforms in all sorts of environments: From the small alleyways in the city’s hutongs, to programs in artists’ studios, to exhibitions in private apartments and spaces in residential buildings in various parts of the?city. Characterized by strong conceptual approaches, open dialog and by incorporating parts of the city in which art could flourish away from the predetermined art zones, these spaces have merged into a network of dynamic art exchanges making new contributions to the progress of the discourses of contemporary art in China. This broad spectrum of programs is mirrored, archived and made publicly accessible by Independent Art Spaces.

List of Participating Spaces

Local Spaces: Aotuspace, Arrow Factory, A2?space, Bunker, Cache Space, De Art?Center, DRC No.12, Institute for Provocation (IFP), I?pai?Hutong, I:?project space, Minority Space, Mutual Art Lab, NON SPACE, PLATE SPACE, PPPP, Q-space, Alchemy in Residential Area, Salt Projects, Social Sensibility R&D Department, TELESCOPE, Video Bureau, Wu Jin, zapbeijing, 706 space 706

International Spaces: Aphids (AUS), EVBG (GER), Hamlet (CH), Kreuzberg?Pavillon?/ Project Space Festival Berlin (GER), Longtang?(CH), Liquid Architecture (AUS), Mumei?(JP), Ongoing project (JP), Paradise AIR (JP), West Space (AUS)

The?official?opening and celebration of the independent art scene at Aotuspace in Beijing:

September 6th??Aotuspace at 19:00

Address: Beixinqiao Toutiao Nr. 67, Dongcheng District

Courtesy of Independent Art Spaces (IAS), for further information please visit www.iasbeijing.org.

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Art for a New China: A Celebration of the 100th Anniversary of Professor Zhou Lingzhao’s Birth-足球开户系统 http://www.sohbed.com/art-for-a-new-china-a-celebration-of-the-100th-anniversary-of-professor-zhou-lingzhaos-birth.html http://www.sohbed.com/art-for-a-new-china-a-celebration-of-the-100th-anniversary-of-professor-zhou-lingzhaos-birth.html#respond Tue, 03 Sep 2019 08:04:16 +0000 http://www.sohbed.com/?p=102588

The country and people have raised me, any grass and wood can become useful talent, on the annual rings of my tree of life although there were twists and turns, as well as hardships, I have a strong vitality. My seriousness, diligence and strictness in art are my lifelong habits. Living in a prosperous country with happy people during a magnificent epoch, I would like to keep on working to beautify our country and the lives of people.

—Zhou Lingzhao

Mr. Zhou Lingzhao, born in 1919, celebrates his 100th?birthday this year.

Each title such as “National Business Card, National Image Designer”, “Public Art Pioneer”, “The First Forerunner of Chinese Design” is admirable.

Such as Mr. Fan Di’an, President of the Chinese Artists Association and President of the Central Academy of Fine Arts commented, “An artist’s life experience, artistic creation and cultural contribution have gone through a century of glory, which indicates the special status and reputation of Mr. Zhou Lingzhao in the development of modern art.”

The exhibition “Art for a New China: A Celebration of the 100th?Anniversary of Professor Zhou Lingzhao’s Birth” was unveiled at the 足球开户系统 Art Museum on August 29th, 2019. It is co-organized with the China Artists Association, the National Art Museum of China and the Publicity Department of the CCP Committee of Hunan Province with the support of the China Federation of Literary and Art Circles, the National Museum of China, the China Banknote Printing and Minting Corporation, the Museum of CPPCC Literature and History and Mr. Zhou Lingzhao’s family.

Under the careful planning and preparation of the exhibition team, the exhibition aims to present the life achievement of Mr. Zhou Lingzhao, who has been devoting his artist and art educator career to his homeland and countrymen. The exhibition is in four sections, over 300 works and includes a rich archive. Some of the exhibits are displayed in front of the public for the first time, including the design draft of the CPPCC emblem, design plan of the 足球开户系统 National Emblem Design Team and design draft of the RMB bills.

Mr. Zhou Lingzhao at the Opening Ceremony Gao Hong, Party Secretary of 足球开户系统, chaired the opening ceremony Fan Di'an, President of China Artists Association and President of Central Academy of Fine Arts, delivered a speech Professor Han Meilin, A Representative of Mr. Zhou Lingzhao and renowned artist and educator delivered a speech Professor Zhou Rong, A Representative of Mr. Zhou Lingzhao's family and a faculty member of Tsinghua University, read reflections by Mr. Zhou Lingzhao on his 100th birthday and expressed thanks Huang Xiao, Director of Hunan Fine Arts Publishing House, introduced the new publication Zhou Lingzhao The Group Photo of Honored Guests at the Opening Ceremony The Opening Ceremony The Opening Ceremony The Opening Ceremony Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Zhou Lingzhao, Self-portrait, 1947; Watercolor on paper, 35cm×27.4cm Zhou Lingzhao, Yunnan during Anti-Japanese War (Mang City, Yunnan Province), 1944; Watercolor on paper, 25.3×35.2cm Zhou Lingzhao, Portrait of Chairman Mao at the Founding Ceremony of China (Chen Ruoju participated in painting) about 6m×4.6m Zhou Lingzhao, Ruoju Skeched at Seaside, 1962; Watercolor on paper, 41.8cm ×29.7cm Zhou Lingzhao, Head of Buddha Sculpture at Dazu Grotto, 1955; Watercolor on paper, 54cm×38.6cm Zhou Lingzhao, Medals of August 1st, Independent Freedom and Libration (Chen Ruoju participated in painting and design), 1955 Zhou Lingzhao designed the second, third and fourth sets of RMB bills between 1950s and 1980s Zhou Lingzhao, The front of 2 Yuan, the third set of RMB bills in 1960 Zhou Lingzhao, The reverse side of 2 Yuan, the third set of RMB bills in 1960 Zhou Lingzhao, Weaving Fishnet, 1981; Acrylic on paper, 45.1cm×44.3cm Zhou Lingzhao, Nine Colored Deer, (Imitation of Mural Painting at Dunhuang), 1981; Ink and color on paper, 44.5cm×100cm Zhou Lingzhao and His Wife at Lijiang, Guangxi Province in 1963 The Couple cooperated on the mural painting of The Tower Full of Worldly Sorrows and Joys in Yueyang in 2002 The news and picture on Zhou Lingzhao's creation were published on NATIONALITY PICTORIAL in January 1964. Zhou Lingzhao worked on White Cloud and Yellow Crane, which was a nine-metre-long ceramic mural painting in 1986. Zhou Lingzhao worked on the oil painting of Shaoshan at the Hall of NCCPPCC in 1973 The metal fire-proof curtain for Ethnic Dances and Musics designed by Zhou Lingzhao was installed at China Art Center at OCAT Shen Zhen in 1991. Zhou Lingzhao sketched at ancient town of Lijiang, Yunnan in 2004. Zhou Lingzhao worked on mural painting of Changsha with acrylic in November 2011. Zhou Lingzhao signed on the first round of Dog Stamps for stamp lovers in September 2017.

The exhibition consists of four sections, “Devotion to Anti-Japanese War While Saluting the Dawn”, “Art for Life in Glorious Years”, “Dedication to the National Image”, “Relentless Diligence”, which intends to comprehensively showcase Mr. Zhou Lingzhao’s achievements in artistic creations and art education for the country and people. While paying homage to him, this exhibition also provides an opportunity for visitors to understand the stories and experience of this outstanding artist.

Zhou Lingzhao was born in Pingjiang County, Hunan Province in 1919. He once studied at Changsha Central China Art College and Wuchang Art College and he was guided by Wang Zhongqiong, Chen Guozhao, Tang Yihe, Shen Shizhuang and so on. In 1936, the 17-year-old Zhou Lingzhao was an apprentice at the Eastern China Photographic Printing Company in Shanghai and the famous expert of the printing plate Liu Puqing was his master. After the outbreak of the Anti-Japanese War in 1937, Mr. Zhou Lingzhao began to actively participate in the propaganda work of Anti-Japanese War. In 1938, the 19-year-old Zhou Lingzhao entered the Office of Fine Arts, Department of Art, the Third Provincial Department of Politics in Wuhan led by the Communist Party of China.

After the end of Anti-Japanese War, invited by Mr. Xu Beihong, Zhou Lingzhao came to the National Peking Art College (one of the predecessors of the Central Academy of Fine Arts) and taught art patterns and he has been working at the Central Academy of Fine Arts ever since. Before and after the founding of People’s Republic of China, Mr. Zhou Lingzhao actively participated in lots of image designs for the Republic.

The first and second sessions are based on Mr. Zhou Lingzhao’s experience and they feature his masterpieces during the Anti-Japanese War; his sketches and watercolors during the period that he taught at Shanghai Yucai School after the War; his works themed on Land Reform and Liberation after he was hired by the National Peking Art College?in 1948.

The third session showcases some important national image designs that Mr. Zhou Lingzhao has participated in or taken charge of, including the design draft of the CPPCC emblem, design plan of the 足球开户系统 National Emblem Design Team and design draft of the RMB bills, many of which are open to the public for the first time.

As an outstanding representative among his peers, Mr. Zhou Lingzhao has participated in the great history of China when he was young and his works bear witness to the great epoch. As Mr. Fan Di’an commented, “he ‘designed’ brand new national images with new visual images, which visualized the national will and reflected on the spirit that people become the masters of the nation.” It can be said that Mr. Zhou Lingzhao has testified to the historical process of the People’s Republic of China in his rich and long artistic career.

As a tutor of the Central Academy of Fine Arts, Mr. Zhou Lingzhao has also seen the developments of this prestigious and highest art institution in China. As one of the main founders of the new disciplines of Design and Mural Painting, he has cultivated a lot of outstanding professionals?for the country. During his teaching in the Department of Patterns and Applied Arts, Mr. Zhou Lingzhao has instructed many design courses while undertaking?lots of national design tasks. Renowned craft artists and designers including Chang Shana, Han Meilin, Chen Hanmin?and so on?who were deeply affected by his work. After the “Cultural Revolution”, Mr. Zhou Lingzhao has participated in preparations for the first Department of Mural Painting among the system of Chinese higher art education at the Central Academy of Fine Arts and he served as the first Director of the Ethnic Painting Studio in the Department of Mural Painting. In education, he especially emphasized the inheritance and development of the Chinese folk art tradition, which reflects his vision and cultural confidence as an important master of art, so that he has made important contributions to the establishment and improvement of the Mural Painting System at the Central Academy of Fine Arts with his artistic thoughts and creative practices.

The fourth session mainly displays many important murals and public artworks as presided over by Mr. Zhou Lingzhao and some of his individual works since the reform and opening-up, including the color drafts and line drawings of “White Could and Yellow Crane”, Shenzhen Zhonghua Folk Village and “Collections of the Ancient Capital”?at Beijing Hotel.

Mr. Zhou Lingzhao also shared his heartfelt words in this exhibition, “Eight years ago, my friends wished me to love being a hundred years old, I said that I would work hard to complete the task. Eight years have passed, I live well and I can still see the world. The present world is developing so fast that tremendous changes have happened in two years, let alone eight years. This year is 2019 and I am already 100 years old and I am entering the 101st?year, I am still in good health but my memory is poor. This year is the 70th?anniversary of the founding of the People’s Republic of China. I am so lucky that I will celebrate my birthday with my great country. We have fought for the establishment of the People’s Republic of China, and we have been devoted to its developing constructions and we will still carry it on.”

Mr. Zhou Lingzhao has been endowed with profound feelings for his home country and actively participated in the artistic undertaking of China. He is a participant, a witness, a recorder and a narrator. The exhibition provides a detailed and in-depth presentation of lifelong exploration and contribution of Mr. Zhou Lingzhao, which also opens a window for visitors to know about the history, read previous stories, and the excellent spirit of older generations of artists represented by him. Also he will become the starting point for the new generations of artists to inherit and innovate, forming the beginning of future infinite possibilities.

Edited by Zhang Yizhi, translated by Sue/足球开户系统 ART INFO

Photo Courtesy of the Organizer

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Liu Wei: Invisible Cities to be Presented in the United States-足球开户系统 http://www.sohbed.com/liu-wei-invisible-cities-to-be-presented-in-the-united-states.html http://www.sohbed.com/liu-wei-invisible-cities-to-be-presented-in-the-united-states.html#respond Mon, 02 Sep 2019 08:31:21 +0000 http://www.sohbed.com/?p=102583

Liu Wei, Devourment, 2019. Aluminum plate, cement, wood, resin, gand gypsum, 235x180x225cm. Installation view of Venice Biennale, May You Live in Interesting Times, Venice, 2019. Courtesy Liu Wei Studio and Lehmann Maupin, New York, Hong Kong and Seoul. Photo by Roberto Marossi.

Liu Wei’s first solo museum exhibition in the United States,?Invisible Cities,?takes its title from?Italian writer Italo Calvino’s novella of the same name.?Presented across two institutions (moCa and the Cleveland Museum of Art) and developed in direct response to both spaces’ architecture,?Invisible Cities?presents a constellation of works that employs?abstraction and fragmentation to create new narratives.

Like Calvino’s book—an imagined set of conversations between traveler Marco Polo and the emperor of the thirteenth-century Mongol Empire, Kublai Khan—Liu’s work examines how objects can function as physical traces and intangible links between the visible and invisible.?From sculptures carved out of books, a series of cut-up and repurposed household appliances (a refrigerator, a washing machine, and a waffle maker), to architectural monuments made from rawhide dog chews, Liu asks us to examine the relationship between material and power.?The installation of works in?Invisible Cities?echoes the cities Polo describes—fantastical, beguiling places where things are never as they seem—and emphasizes that the?world we live in is infinitely larger than what we can see. Liu’s work is an evocative reminder that how we perceive and negotiate our relationship to place allows us to see the conditions of its very construction.

About the exhibition

Dates: September 13, 2019?—?January 5, 2020

Venue: Mueller Family Gallery, Cohen Family Gallery, and Cahoon Lounge, moCa Cleveland

The Cleveland Museum of Art’s presentation of?Invisible Cities?runs from October 13, 2019–February 9, 2020.

Courtesy of the artist and moCa Cleveland, for further information please visit https://mocacleveland.org.

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The Intersection of Academic and Art: Research-based Exhibition as Contemporary Art-足球开户系统 http://www.sohbed.com/the-intersection-of-academic-and-art-research-based-exhibition-as-contemporary-art.html http://www.sohbed.com/the-intersection-of-academic-and-art-research-based-exhibition-as-contemporary-art.html#respond Fri, 30 Aug 2019 07:31:35 +0000 http://www.sohbed.com/?p=102516

With the inclusion of increasingly diversified art media and materials in the field of contemporary art, artists’ thoughts are able to be conveyed and interpreted by more diverse languages, while curators are open to numerous challenges and inspiration. In the age of information, the representation of research-based exhibitions showcase their distinction in terms of the conceptual structure and research foundation in such a splendid environment of contemporary art and exhibitions.

What are research-based exhibitions? What does “research-based” mean? What is the relationship between such exhibitions and academic writing? All these questions were discussed in the workshop and opening of “2019 Research-based Curatorial Project: Shortlist Exhibition” organized by OCAT Institute Beijing on 24th?August 2019. By inheriting the practice of the first edition of Research-based Curatorial Project in 2018, this year, OCAT Institute has selected seven projects showcasing the characteristics of diversification, interdisciplinarity and internationalization, namely, “Infancy and History” by Andris Brinkmanis, Paolo Caffoni and Yin Shuai, “The Persistence of Light and Sound: An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei, “Archiving the Spaces of Anxiety: From the Burrow to the Peach Colony” by Chen Shuyu, “Rethinking Ethnography as Methodology for Art” by Duffy Du,?“Global Echoes: An Anthropology of Sound” by Pan Yuxi, “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” by Wang Huan and Wang Ziyuan and “Lions of the Scottish Highlands – Parallel Exhibition of Writing” by Pocono Zhao Yu and Rie Kung.

Wu Hung, Executive Director of OCAT Institute, interprets the notion of a “research-based exhibition” as a type of art exhibition with distinctive characteristics and functions. From his point of view, this exhibition “treats artworks, artists, and artistic phenomena as objects of data collection and analytical interpretation, and transforms such research into visual and spatial presentations (Wu Hung, 2019).” As the intersection of the Academic and Art, various reflections led by contemporary research-based curatorial projects can be observed in these shortlisted?projects.

Group Photo Wu Hung, Executive Director of OCAT Institute, at the workshop Zhu Qingsheng, Guest Observer of this curatorial program, at the workshop Guo Weiqi, Academic Director of OCAT Institute, at the workshop Karen Smith, Guest Observer of this curatorial program, at the workshop Feng Feng, Guest Observer of this curatorial program, at the workshop Andris Brinkmanis at the workshop Paolo Caffoni at the workshop Rupert Griffiths at the workshop Chen Shuyu at the workshop Duffy Du at the workshop Rie Kung at the workshop Pan Yuxi at the workshop Wang Huan at the workshop Wang Ziyuan at the workshop Yin Shuai at the workshop Zhao Yu at the workshop Zhu Xinwei at the workshop “Rethinking Ethnography as Methodology for Art” by Duffy Du “Rethinking Ethnography as Methodology for Art” by Duffy Du “Rethinking Ethnography as Methodology for Art” by Duffy Du “Rethinking Ethnography as Methodology for Art” by Duffy Du “Rethinking Ethnography as Methodology for Art” by Duffy Du “Rethinking Ethnography as Methodology for Art” by Duffy Du “Infancy and History” by Andris Brinkmanis, Paolo Caffoni and Yin Shuai “Infancy and History” by Andris Brinkmanis, Paolo Caffoni and Yin Shuai “Infancy and History” by Andris Brinkmanis, Paolo Caffoni and Yin Shuai “Infancy and History” by Andris Brinkmanis, Paolo Caffoni and Yin Shuai “Infancy and History” by Andris Brinkmanis, Paolo Caffoni and Yin Shuai “Lions of the Scottish Highlands – Parallel Exhibition of Writing” by Pocono Zhao Yu and Rie Kung “Lions of the Scottish Highlands – Parallel Exhibition of Writing” by Pocono Zhao Yu and Rie Kung “Lions of the Scottish Highlands – Parallel Exhibition of Writing” by Pocono Zhao Yu and Rie Kung “Lions of the Scottish Highlands – Parallel Exhibition of Writing” by Pocono Zhao Yu and Rie Kung “Global Echoes An Anthropology of Sound” by Pan Yuxi “Global Echoes An Anthropology of Sound” by Pan Yuxi “Global Echoes An Anthropology of Sound” by Pan Yuxi “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “Archiving the Spaces of Anxiety From the Burrow to the Peach Colony” by Chen Shuyu “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” by Wang Huan and Wang Ziyuan “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” by Wang Huan and Wang Ziyuan “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” by Wang Huan and Wang Ziyuan “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” by Wang Huan and Wang Ziyuan “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” by Wang Huan and Wang Ziyuan “The Persistence of Light and Sound An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei “The Persistence of Light and Sound An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei “The Persistence of Light and Sound An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei “The Persistence of Light and Sound An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei “The Persistence of Light and Sound An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei “The Persistence of Light and Sound An Archaeology of Atmosphere” by Rupert Griffiths and Zhu Xinwei Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View

I. How to understand “research-based”?

At the workshop before the opening ceremony, curators discussed the notion of “research” based on their own projects. To understand this concept, the clarity of what we are actually studying is necessary. Mr. Wu Hung has roughly divided these seven projects into three categories after the curators’ presentations.

The first category is “theme research”?which sounds most familiar?by us. Namely, the objects of research are specific communities, histories and cultural phenomena etc., which can lead viewers to certain contexts. Project “Infancy and History” takes the title and inspiration from Italian philosopher Giorgio Agamben’s exploration in?the philosophy of infancy. On the basis of this, curators would like to respond to some of the working methodologies indicated by Agamben, explore “infancy” and “history” as intertwined references as well as translating them to the realm of aesthetics and visual arts.

Another example of this category is the project “The Story of Finding Differences – Human Traces, Intercity, and Transformation of the World” which focuses on the notion of?“county town youths”. Taking the community that is unnoticed, in constant migration and adaptation as the research object, curators would like to place this group of people in the torrent of pressing changes and imply that the rapid development of Chinese urbanization confronts us all.

The second category shows the reflections on methodologies, namely, to research on “research” itself. The project “Rethinking Ethnography as Methodology for Art” re-emphasizes the statement “the artists as ethnographer” put forward by Hal Foster. The curator once again regards the ethnography as an artistic methodology to conduct various case studies of young artists who develop their art practice based on different social and cultural contexts as well as personal experience.

The project “Lions of the Scottish Highlands – Parallel Exhibition of Writing” is developed from the Long Reading Project?of the Chinese art magazine Art?World. By?referencing?the film terminology “MacGuffin” – vital elements in terms of promoting the development of storylines, curators wish to explore when narrative is the significant component for an artwork, it is its own justification. Fifteen articles from twelve authors are utilized to discuss the methodology of “narrative continuity”. Besides, the practice regarding the mutual transformation between paper writings and exhibition spaces are expected at the same time.

The third classification of curatorial projects seems to conduct research of both media and concepts. It enables an increasing diversification of the study of objects from?research-based exhibitions. Through the research of atmospheres, the project “The Persistence of Light and Sound: An Archaeology of Atmosphere” expands the meteorological notion of air to the concept of affective atmosphere. Curators are concerned with the question of how artists approach and work with such atmospheres – some take air as media while others focus on the state of absence or quietude. By doing so, this project intends to explore how contemporary imaginations?of humans and nature reflect, refract, amplify and distort one another.

II. Research-based Exhibition and Academic Writing

Guo Weiqi, Academic Director of OCAT Institute, proposed the problem regarding the relationship between the research-based curatorial project and academic writing. To answer this question, curators exchanged ideas on the research-based exhibition in academic history by?exemplifying?their own curatorial plans.

From Wang Huan and Wang Ziyun’s viewpoints, they believe that the existing academic research is partly served by fundamental construction. However, divergent and creative thinking are also worth waiting for. For the specific case of “county town youths” they would like to bypass the existing academic research on this notion at the very beginning. However, they gradually realized that it is impossible to avoid the academic field along with the in-depth process of their research. But Wang Ziyun has pointed out that the specific issues addressed in some works have deviated from the previous academic history context over time. In this case, curators and artists are required to generate new discussions in artworks. Therefore, changes during the era turn to constitute a supplement in academic history. In addition, responses outside specific disciplines showcase significance in terms of completing academic history as well.

Curator Pan Yuxi intends to achieve the mutual reference between contemporary art and archaeology in her project “Global Echoes: An Anthropology of Sound”. She mentioned that she did not include the concept of archaeology and anthropology at the very beginning of her research. However, by digging into relevant practices in this area, she noticed that contemporary artists have a fascination with “appropriation”. They do not?just?appropriate pre-existing images and objects from diverse cultures, but?they?also borrow useful strategies and methods from other disciplines. Contemporary artists themselves take on roles of ethnographers, archaeologists and anthropologists to conduct art practices. In Pan’s proposal, interdisciplinary ideas can integrate the academic history of various fields. Research and curation are an interactive process to provide mutual reactions to each other. When mythologies in one field is practiced and discussed in other realms, the birth of dynamic and vivid interpretations and supplements in academic history may happen.

III. Research-based Exhibition as Contemporary Art

Zhu Qingsheng, Guest Observer of this curatorial program, holds the view that a research-based exhibition does not mean that research is done via the exhibition. Instead, this selective activity is more like a contemporary art practice. Mr. Wu Hung added that people get used to limiting research in paper-based media. Although a number of studies of spaces or materials were conducted, they have always required the text to be intermedia to translate and deliver them. Is there any possibility that space or material itself is the king of research?

When confronting the subject “Infancy and History”, Andris Brinkmanis, Paolo Caffoni and Yin Shuai’s challenge lies in the selection of abundant materials. Sorting out archives and artworks that can be applied to three curators’ common experience means that curators act as the main subject to inspire the landing point, objects and process of their research. It can also be proofed in Cheng Shuyu’s curatorial project “Archiving the Spaces of Anxiety: From the Burrow to the Peach Colony”. ?She proposed this project based on her practice and study of contemporary theater and stage art. It takes its form from a transitional path that links Kafka’s unfinished short story The Burrow?(1923-1924) and Wu Li’s painting White Cloud and Green Mountain (1668). Both the burrow, dug by the underground residents on the purpose of seeking for a sense of safety, and the entrance to the Peach Blossom Spring implied in the painting scroll, present the anxiety caused by the gap between literary and artistic imagination and the real space. It leads Chen together with seven artists who research, act and create around different types of spatial concepts, to explore “special archives” and “archival spaces” that mutually expand each other in a heterotopia of spaces and subjects.

Similarly, curator Zhu Xinwei, who has the literary background and artist Rupert Griffiths, who has experience related to geography, demonstrate the vitality in their project. Impressed by the open-minded exhibition space, they transformed the idea of “essay exhibition” to achieve the so-called “research-based” request, towards building up exhibitions via raising new issues and developing special dialogues from the exhibition itself. This dialogue based on the multicultural background of initiators has enabled the discussion of issues in the contemporary art field to be addressed in a broader context.

In this case, the increasingly open and diversified interpretation of the research-based exhibition is embodied by curators through regarding the exhibition itself as a piece of contemporary work – it discusses current society and culture, reflects on the previous experience while?intending?to refine the contemporary meaning of history; meanwhile, it is placed in a process of evolution and showcases a state that is unfinished. Therefore, the state of curators is fluid, and the identity of them is constantly changing. The exhibition will never be the end of one’s research. “We cannot convey all our research in an exhibition. Rather, the exhibition is a process of our research (Curator He Yining, 2019).”

Text by Emily Weimeng Zhou

Edit by Sue/足球开户系统 ART INFO

Photo courtesy of the organizer

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Capsule Shanghai showcases Ivy Haldeman’s most recent paintings and an LED neon-light installation in Shanghai-足球开户系统 http://www.sohbed.com/capsule-shanghai-showcases-ivy-haldemans-most-recent-paintings-and-an-led-neon-light-installation-in-shanghai.html http://www.sohbed.com/capsule-shanghai-showcases-ivy-haldemans-most-recent-paintings-and-an-led-neon-light-installation-in-shanghai.html#respond Fri, 30 Aug 2019 03:35:28 +0000 http://www.sohbed.com/?p=102510

We do not see things as they are, we see things as we are.

—Ana?s Nin, Seduction of the Minotaur

Capsule Shanghai is delighted to announce the opening of New York-based artist Ivy Haldeman’s solo exhibition, “(Hesitate),” the first presentation of the artist’s oeuvre in Shanghai, China. It will feature her most recent paintings and an LED neon-light installation.

Comprised of three idiosyncratic visual tropes: a hotdog figure, hollow business suits in pairs, and gesticulating fingers, Ivy Haldeman’s immaculate imageries allow sensuality, vulnerability, and imagination to contend with a variety of culturally pervasive notions. This exhibition complicates the dichotomies of what qualifies as the natural versus the artificial, the free versus the subjugated. As suggested in its title, a momentary pause from repose to performance, a disjunction between mind and body, may be the elusive position from which a viewer reframes their perception of being human.

Haldeman’s hotdog figure, simultaneously an anthropomorphic, phallic, and feminine icon, has undermined what a hotdog embodies: the unnatural, the constructed, and the consumable. Likewise, the business suits, devoid of human figures, would presumably align with conventional perceptions of power, success, anonymity, and predictability, yet they are off balanced by their accentuated silhouette—padded shoulders, swinging hips, expressive cuffs—and generate a visual tension between the masculine and the feminine, as well as between a public persona and a private one. The gesticulating fingers, an isolated body part fully embodied, move en pointe, hint at fetish, and communicate through an implied body language. Be it the hotdog figure’s banana phone, her pointy stilettos, her pillowy bun, or her supple book; the business suits acting in concert; or the flirtatious silhouette of the fingers centered on canvas, Haldeman deploys these conduits of make-believe, comical tropes, and even wry humor for her subjects to reclaim a personal identity, interiority, and agency.

Ivy Haldeman, Two Suits, Wrist Bent, Cuff to Pocket (Mauve, Peach), 2019; acrylic on canvas, 170.2×152.4cm

In addition to these three series of works on canvas, the LED neon-light installation of suited, invisible feminine figures emboldens Haldeman’s capacity to illuminate the viewer’s imagination. Not far from the heart of the Shanghai French Concession, perhaps the illuminated figure is a career woman by day, secret agent by night, swinging her hips as she trots along the streets, shaded under a Chinese parasol, sauntering to her nocturnal activities in a Wong Kar-wai film scene…

Haldeman’s works can be read in association with a wide range of art historical references, from “Barberini Faun,” a Hellenistic sculpture of a sleeping male nude to a fiery, scribbled version of Claude Monet’s “Japanese Bridge.” In the artist’s own words, “These two images embody what I search for when I make a painting: a muscular sensuality paired with a half-blind urgency that corrupts the familiar.” In particular, Kitagawa Utamaro’s Ukyio-e prints of courtesans, who dwell within the “floating world” of the pleasure district, operate like advertisements, drawing in capital through images of an eroticized underclass. For Haldeman, Utamaro’s encapsulations of his subject’s individuated beauty, not only serve as a record of subtle human expressions, but also lay bare the utility of feminine aesthetics by recording women from ranges of economic classes, as well as depicting them in their private moments when they are not performing for clients.

For the works on view, Ivy Haldeman adopts a minimal visual vocabulary to generate the maximum amount of signification and invites the viewer into a performance with her tableau. Regardless of whether her subjects are imagined, objectified, or even fetishized in the conventional sense, Haldeman conceives of them as living things and translates them into expressions through which the viewer is invited to discover the strangeness of their own empathy.

Ivy Haldeman (b. 1985, Aurora, CO; lives and works in New York) received her BFA from the Cooper Union in 2008. Her work has been exhibited at Downs & Ross, The Frans Hals Museum, Gavin Brown’s Enterprise, Paul Kasmin Gallery, among numerous others. Her practice has been featured in Artforum, Artnet, The Brooklyn Rail, The New Yorker, and The New York Times

Text/ Fiona He

About the exhibition

Dates: Aug 31, 2019 – Oct 16, 2019

Opening: Aug 31, 2019, 15:00

Venue: Capsule Shanghai

Courtesy of the artist and Capsule Shanghai, for further information please visit?https://capsuleshanghai.com.

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Hauser & Wirth presents “Arp: Master of 20th Century Sculpture” in Hong Kong-足球开户系统 http://www.sohbed.com/hauser-wirth-presents-arp-master-of-20th-century-sculpture-in-hong-kong.html http://www.sohbed.com/hauser-wirth-presents-arp-master-of-20th-century-sculpture-in-hong-kong.html#respond Thu, 29 Aug 2019 08:16:03 +0000 http://www.sohbed.com/?p=102499

Hauser & Wirth Hong Kong presents the first solo exhibition in Greater China of one of the masters of 20th-century modern art: Hans (Jean) Arp (1886 – 1966) was at the forefront of the 20th-century avant garde, and associated strongly with Surrealism and the international Dada movement. Over a period of more than sixty years Arp produced an extraordinarily influential body of work that shifts fluidly between abstraction and representation, and between organic and geometric forms. The list of artists Arp befriended and collaborated with reads like a Who’s Who of the avant garde: Max Ernst, Joan Miró, Amedeo Modigliani, Wassily Kandinsky, Piet Mondrian, Sonia and Robert Delaunay, Francis Picabia, Paul Klee, Kurt Schwitters – to name just a few.

Born in 1886 in Strasbourg, Alsace, a historically embattled region bordered by France, Germany and Switzerland, Arp was raised speaking French, German and the Alsatian dialect. His hybrid cultural identity was formed during a long period of fraught nationalism, subsequently the artist refused to confine himself to a single language, national identity, artistic movement, or material. Much of his creative work seems intent on transcending boundaries, and the high quality of Arp’s creative output over decades is matched only by its sheer diversity: At the heart of Arp’s artistic triumph shines the organic beauty of his sculptures, but the artist first gained acclaim for his poetry in German and French, as well as his prints, books, drawings, fabric works, collages and his wood reliefs.

Arp, Chaise et bouteille (Chair and bottle), 1926; Cardboard and paint, 48.2×55.7×2.5cm ?Stiftung Arp e.V./ Licensed by ARS, NY and DACS, London; Courtesy Stiftung Arp e.V. and Hauser & Wirth

When World War I broke out in August 1914, Arp was living in Paris. In 1915 he went into exile in neutral Switzerland where he became a founding member of the radical Dada movement in Zurich in 1916. There he joined an international community of artists and intellectuals and he met fellow artist and his future wife, Sophie Taeuber. Her geometric works and their artistic collaboration had a lasting influence on his artistic development. Together they experimented with new materials and formats refusing any hierarchies of genres. At that time Arp started to create his own visual language, which he refined in the following years while living at numerous places in France and Switzerland. Instead of imitating nature he was looking for creative strategies analogous to the fascinating processes of nature. He pioneered the use of chance and in his collages, cut-out works and reliefs he generated multiple layers of meaning through their titles. Focusing his attention on everyday objects, in the 1920s Arp created his very own ‘object language’ using a nonsensical vocabulary of simple, reduced forms of bottles, forks, knives, clocks, ties, moustaches, lips, breasts and eggs which he placed in absurd juxtapositions on irregular backgrounds.

Spread over two floors, ‘Arp: Master of 20th Century Sculpture’ explores the development of the artist’s unique formal language in his early woodcuts, cardboard collages, drawings, wood reliefs, and in his bronze sculptures spanning the period from 1918 – 1965.

The early cardboard cut-out work ‘Chaise et bouteille / Stuhl und Flasche (Chair and bottle)’ (1926) stands as a remarkable example for Arp’s quirky play with words and forms, and his rejection of traditional painterly illusionism. While reintroducing traditional aspects of paintings, such as the rectangular format and the frame, Arp playfully destroys the illusionism by cutting through the pictorial support.

Arp, Stern (Star), 1956; Bronze, 63x35x17cm, ?Stiftung Arp e.V./ Licensed by ARS, NY and DACS, London Courtesy Stiftung Arp e.V. and Hauser & Wirth

In around 1930 Arp turned to sculpture. By transforming the flat, biomorphic shapes of his earlier reliefs into fully-fledged sculptural creations, Arp arrived at a language of organic forms – at once figurative and chimeric – that would serve as the origin of his art for the remaining three decades of his career. In an act of continuous metamorphosis that echoes the generative processes of nature itself, Arp recast these elemental motifs over and over in various media and new configurations.

Sculptures like ‘Wachstum / Croissance (Growth)’ (1938/1960, cast 2006) – an amorphous biomorphism made of smooth bronze – demonstrate Arp’s masterful ability to enliven form through sensually haptic, rounded contours. Skillfully blurring representation and abstraction, the conscious and the subconscious, the concrete and the creative, ‘Growth’ can be interpreted as a branch of a plant, uncoiling as it twirls upwards from its base.

Arp, Schmucke Schwelle (Decorated Threshold), 1965; Bronze, 45x45x10.5cm, ?Stiftung Arp e.V./ Licensed by ARS, NY and DACS, London; Courtesy Stiftung Arp e.V. and Hauser & Wirth Photo by Chris Bierl

Conceived within the last decade of Arp’s life, his expertly carved ‘Stern/ étoile (Star)’ (1956, cast 1976) embodies the characteristic physical beauty of his work, displaying near perfect unblemished surfaces and smooth curvilinear forms. The ends of the sculpture are reminiscent of flickering flames while the captivating vacancy in the middle of the sculpture suggests eternity and transcendency. The bronze articulates an innate natural or spiritual order and rhythm that pulses through its curves and lines in a reaction to the creative energy and intuitive skill of the artist. He explained what was to become his consistent aesthetic:

‘I made my first experiments with free forms, I looked for new constellations of form such as nature never stops producing. I tried to make forms grow. I put my trust in the example of seeds, stars, clouds, plants, animals, men, and finally my own innermost being.’

Arp’s organic formal language has influenced artists over generations. His works can be found in numerous museum collections and major public spaces worldwide. He was awarded the Grand Prize for Sculpture at the Venice Biennale in 1954. The first Arp retrospective was held at the Museum of Modern Art in New York in 1958. Most recently, in 2018 the Nasher Sculpture Center in Dallas, TX organised the extensive solo exhibition ‘The Nature of Arp’ which travelled to the Peggy Guggenheim Collection in Venice, Italy.

About the exhibition

Opens on: Tuesday 3 September 2019, 6 – 8 pm

Duration: 4 Sep – 9 Nov 2019

Venue: Hauser & Wirth Hong Kong

Courtesy of Hauser & Wirth Hong Kong, for further information please visit www.hauserwirth.com.

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Mixing the Genuine with the Fictional: “Dragonfly Eyes” and Xu Bing’s World of Pictures-足球开户系统 http://www.sohbed.com/mixing-the-genuine-with-the-fictional-dragonfly-eyes-and-xu-bings-world-of-pictures.html http://www.sohbed.com/mixing-the-genuine-with-the-fictional-dragonfly-eyes-and-xu-bings-world-of-pictures.html#respond Thu, 29 Aug 2019 06:32:36 +0000 http://www.sohbed.com/?p=102476

Moving images, the exhibition and Xu Bing constitute a mysterious power that allows viewers to jump into the abyss of the world of images.

When things with energy collide with each other, the result is often the secret of attracting the outside world in. Following his Phoenix?project in 2010, Mr. Xu Bing and the Today Art Museum conducted a second collaboration to launch the “World Picture: Xu Bing Dragonfly Eyes”, which is also the latest testimony to his return to the country after nearly a decade. It seems that around the exhibition of Xu Bing’s Dragonfly Eyes, a perfect narrative is given to the history of the art and the present. This exhibition presents three levels of perception. The first level is to feel the?film?Dragonfly Eyes. The second part is the documentation exhibition area; the third part is to understand Xu Bing and his art’s nine “keywords” so as to deeply interpret the film Dragonfly Eyes?and Xu Bing’s artistic creation process.

Mixing the Genuine with the Fictional: Dragonfly Eyes

In order to show the film ?Dragonfly Eyes, a new “Dragonfly Cinema” was created on the second floor of the Today Art Museum. Dragonfly Eyes?is the first artistic video work directed by Xu Bing, which is 81 minutes long. The film was co-written by Zhai Yongming and Zhang Hanyi. Matthieu Laclau and Zhang Wenchao served as joint editors. Li Danfeng served as a sound director. Yoshihiro Hanno is the original music producer.

What kind of work is Dragonfly Eyes? After his creation, he won a large number of film festival awards. This work has not been widely publicized, and only a few fragments have appeared in some exhibitions so the public is full of infinite curiosity. This film tells a “weird” love story through editing public monitoring images published in the real life and mixed with experimental art. The techniques, plots and concepts of this film?need to be viewed from an artistic level. If you only watch it as a movie, you might easily miss the fun or be short-sighted.

Dragonfly Eyes?uses all the ready-made surveillance images released in the cloud space over the last few years. The artist observes the world with compound eyes like a dragonfly in front of a large amount of open materials. However, how to display the images of different places, different times, different characters and different events in front of the viewer? It becomes necessary to connect them in a disorderly plot. Perhaps the artist believes that these records of occasional strange scenes make it easier for viewers to return to the concern of a world that exists for the self. The images presented in the plot break the visual attribution of the old images to a certain extent. The former images are from the artist and belong to the public; while the images of the works are from the public but belong to the artist. The artist uses the image world through surveillance to turn the audience into a legitimate “peeping Tom”, which is imposed on the audience through the plot.

As an important connection point, the plot highlights the artist’s understanding of the comprehensive expression of the work. In the story, the heroine?who entered the temple to practice Buddhism due to her illness, she went to work in a dairy farm after leaving the temple, but her male colleague fell in love with her. She left the dairy farm and had a number of jobs, and finally had plastic surgery to become an internet celebrity anchor. Her colleague has been secretly tracking her, but after he lost the clues, he tried to love her by cloning her looks and life experiences. He became a woman after plastic surgery, and re-experienced the life that the heroine?had lived and worked, and finally returned to the temple where the heroine?had been before.

This is a story about love. When the man cannot find the love of the woman, the man has to turn himself into the woman he loves step by step. This is a love story full of extreme behaviors, but it shows the bondage of love to people. The human beings within industrial civilization, how to express the suppression love, need to find a way out from the potential impact of social psychology and personal psychology. The film of Dragonfly Eyes?uses the most authentic materials, but it constructs the most realistic illusion, so that it mixes the genuine with the fictional.

Viewing the Old from a New Perspective: the Documentation Exhibition Area

After watching the Dragonfly Eyes, the documentation exhibition area was specially planned on the third floor of the museum. While focusing on the concept of the artist’s Dragonfly Eyes?and the behind-the-scenes story, it has tried the curatorial method of relevance as a comparison to present in the whole exhibition to establish a dialogue that combines a documentary and visual display. Xu Bing’s artistic creation has a strong logical change.?In his works, he will always highlight the fission of the core concepts. He always finds coordinates in his own time and releases his unique artistic creations. From the historical perspective, the documentation exhibition area re-strung the logic of the related works. Xu Bing’s work shows people a process of creation rather than the presentation of results. Detailed production records, meticulous manuscripts, and thoughtful works all make people feel in awe of art.

“Viewing the old from the new perspective” is also an interpretation of the Dragonfly Eyes. From Xu Bing’s previous works, his original work, such as An Analysis of a Reflection of the World?The Final Volume of The Century, is an example. The best effort has become a seemingly reasonable existence, so that these strange symbols are accepted. But Dragonfly Eyes?develops in the another direction, as it uses the real images that people often see as the materials, but constitutes a weird story to let the truth disappear, making it funny rather than a real story. Through the creation of an illusion with the real materials, the creation turns from “mixing the false with the genuine” to the present “mixing the genuine with the fictional.”

One of the purposes of the documentation exhibition is to restore the significance behind each work, so that the path of spectating becomes sincere and clear. The display of the documentation exhibition area is a supplement for the audience as the brief descriptions cannot really attract the audience’s attention, especially compared to the real shocking senses presented by Xu Bing’s film, this way seems to be difficult to comprehend by unfamiliar audiences.

Unlocking the Door with a Bolt: Nine Keywords

Xu Bing is an artist with an individualistic art history. The complete artistic creation process, the presentation of diversified styles of works, the rich texts of his case studies, the influences of his art on a global scale, etc., do not just constitute the recognition of his contribution to art, but it further evidences that the artist can use more distinct and specified artistic concepts to affect more areas.

The curatorial team of this exhibition used nine “keywords” to allow the viewers to understand the past and future of Xu Bing’s art more accurately. This third part is also the most powerful part of this exhibition. The nine “keywords” of “World Picture” can be divided into three categories and sources: First, the original artistic concepts?in Xu Bing’s artistic career; Second, more frequent problems and theoretical viewpoints appearing in the comments on Dragonfly Eyes; Third, the specific concepts and methods in the production process of Dragonfly Eyes, the “keywords” of these three categories are the relationship of mutual association and dialogue. At the same time, it will also showcase?the key concepts and representative works of Xu Bing’s previous art developments, and further explore the artistic propositions and formal experiments of his latest work Dragonfly Eyes. For the overall understanding of Xu Bing’s artistic work, it gains a more essential grasp and experience of the inner context.

The nine keywords are like the nine latches that open Xu Bing’s world of pictures. The nine keywords are: Plurality, Social Energy, Characters and Images, Defamiliarization, Archive Fever, Body, Non-form, Portrait Rights, and Live Streaming and Editing. These nine keywords constitutes the necessary?way to understand Xu Bing, giving the viewer a comprehensive interpretation of the direction, but too many conceptual displays might make the concept of art become dispelled.

The World Picture and Xu Bing’s Dragonfly Eyes?exhibition imply?the great charm of the image medium in artistic creations. It also shows once again what kind of visual mind we need to face for the future image world in the art world full of true and false expressions.

Text by Lin Lu, translated and edited by Sue/足球开户系统 ART INFO

Photo by the Organizer and Song Qinrui

About the exhibition

Curators: Gao Peng, Dong Bingfeng

Duration: 2019.08.20 — 2019.10.24
Location: 2nd and 3rd floor, Building No.1, Today Art Museum

Courtesy of the artist and Today Art Museum, for further information please visit www.todayartmuseum.com.

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Renqian Yang’s Solo Exhibition at Cayuga Museum of History and Art-足球开户系统 http://www.sohbed.com/renqian-yangs-solo-exhibition-at-cayuga-museum-of-history-and-art.html http://www.sohbed.com/renqian-yangs-solo-exhibition-at-cayuga-museum-of-history-and-art.html#respond Wed, 28 Aug 2019 07:38:56 +0000 http://www.sohbed.com/?p=102438 RenqianYang_CayugaMuseum_Instview_PhotographbySiyuanTan_6

Renqian Yang’s solo exhibition has opened at the Cayuga Museum of History and Art on August 15, 2019. The show showcases some of the major ceramics and paintings created by Renqian Yang in the United States between 2013 and 2019. The show will be on display from August 15 to September 14, 2019.

Fascinated by dualism and binaries, Yang’s work addresses the unity and the contradiction of dichotomies by combining the seemingly divergent, such as tragedy and comedy, correctness and abstraction, restriction and freedom, pessimism and optimism, complexity and simplicity, and the man-made world and the natural world; her work explores how an individual is related to nature, society, and oneself. Meanwhile, Yang Renqian’s work perspective starts with her own standpoint and interests. As a foreign citizen of Asian origin living in the United States, Yang pays attention to the social development in different cultures, as well as the interaction among the individual, the city and nature. Yang’s work also suggests the innate emotional characteristics of females, such as independence, perseverance, softness, and delicacy. From an outsider’s perspective, she reflects on the often neglected parts in our time, such as every individual’s free will and its inseparability with the society, the optimistic attitude of the consumerist society and the feeling of emptiness, and beyond.

RenqianYang_CayugaMuseum_Instview_PhotographbySiyuanTan_1 RenqianYang_CayugaMuseum_Instview_PhotographbySiyuanTan_4 RenqianYang_CayugaMuseum_Instview_PhotographbySiyuanTan_5 RenqianYang_CayugaMuseum_Instview_PhotographbySiyuanTan_6 RenqianYang_CayugaMuseum_PhotographedbyFangYuan_1 RenqianYang_CayugaMuseum_PhotographedbyFangYuan_4 RenqianYang_CayugaMuseum_PhotographedbyYilanWang_3 RenqianYang_CayugaMuseum_PhotographedbyYilanWang_7 Backward Fragmentation, 2019. Paper clay with underglaze, glaze and paint, fire to cone 6, electric kiln, 19 x 9 x 9 in. In-Between, 2013. Oil on canvas, 30 x 40 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. In-Between, 2013. Oil on canvas, 30 x 40 in Radial Light 5, 2013. Oil on canvas, string, 30 x 40 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. Renqian Yang Solo Exhibition at the Cayuga Museum of History and Art installation view. Photograph by Echo He, Edited by Yuan Fang. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery Renqian Yang Solo Exhibition at the Cayuga Museum of History and Art installation view. Photograph by Siyuan Tan, Edited by Yuan Fang. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery Spin, 2013. Oil on canvas, mix media, 40 x 40 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. Still Life 1, 2019. Oil on canvas, 40 x 40 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. The Migration, 2011. Oil on canvas, 36 x 54 inch. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. Untitled 19, 2019. Acrylic on wood panel, 8 x 10 x 1.5 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. Untitled 20, 2019. Acrylic on wood panel, 8 x 10 x 1.5 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. Untitled 21, 2019. Acrylic on wood panel, 8 x 8 x 2 in. ?Renqian Yang, courtesy Cayuga Museum of History and Art and Fou Gallery. Urban Sprawl 15, 2016. Stoneware, underglaze, paint, fire to cone 6, electric kiln, 8.75 x 8 x 8 in Urban Sprawl 16, 2016. Porcelain, underglaze, paint, fire to cone 6, electric kiln, 8 x 9 x 7 in RenqianYangatFouGallery2019-PhotographbyNadiaPeichaoLin RenqianYangatFouGallery2019-PhotographbyNadiaPeichaoLin-2

In terms of creative techniques, Yang combines both traditional and non-traditional methods in her practice. While primarily focusing on ceramics, her work also extends to installation, sculpture, drawing, painting, video and functional everyday objects. By engaging ceramics in many different ways, the clay can find new opportunities for expression. The show at the Cayuga Museum of History and Art continues her exploration on site-specific installations. The museum is converted from a 19th-century-old mansion. The last family heir gave the old house to Professor Walter Long for constructing the museum at the cost of “five dollars plus a box of cigarettes.” Yang studies the architectural details of the house, including the 19th century Tiffany stained glass window, the ornate dining room in Renaissance Revival style and the original wood walls and makes the exhibition design as part of the interior. Renqian’s solo show at the Cayuga Museum of History and Art is the sixth show of the museum’s CNY Emerging Artist project, which features ten emerging artists from the Central New York region with a new show each month, from March to November.

About the artist

Renqian Yang (b.1987, Xiangtan, Hunan Province, China). She earned her B.F.A. in Ceramics from the Sichuan Fine Arts Institute, Chongqing in 2009 and her M.F.A. in Ceramics from Syracuse University in 2014. Currently, she lives and works in Oswego, New York?as an artist and Assistant Professor at the State University of New York at Oswego. Yang’s work has continued to exhibit in the U.S. and China. Her recent exhibitions include: Renqian Yang, Cayuga Museum of History and Art, Auburn, New York (2019); Renqian Yang and Lan Zhaoxing: Between Mountains, Fou Gallery, New York (2019); Renqian Yang: Construct Deconstruction, Taoxichuan Ceramic Art Avenue Art Gallery, Jingdezhen, China (2018); Renqian Yang: Complementary Colors, Fou Gallery, New York (2016); Rare Earth: National Ceramics Exhibition, Cabrillo Gallery, Aptos, California (2016). In January 2017, she had her first solo exhibition in New York at Fou Gallery. She served as a residency artist at Craigardan (2018), Jingdezhen International Studio (2018), and?the Watershed Center for the Ceramic Arts (2017). ?Artist’s website: www.renqianyang.com

About the exhibition

Duration: August 15-September 14, 2019

Venue: Cayuga Museum of History and Art

Address: 203 Genesee St, Auburn, NY 13021

Courtesy of the artist and Cayuga Museum of History and Art. The full schedule could be found at http://cayugamuseum.org/cny-emerging-artist-project/.

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OCAT Institute announces its Annual Lecture Series by Craig Clunas-足球开户系统 http://www.sohbed.com/ocat-institute-announces-its-annual-lecture-series-by-craig-clunas.html http://www.sohbed.com/ocat-institute-announces-its-annual-lecture-series-by-craig-clunas.html#respond Tue, 27 Aug 2019 08:37:12 +0000 http://www.sohbed.com/?p=102434

OCAT Institute ?2019? Annual Lecture Series

Three Transnational Moments in the History of Chinese Art

Speaker: Craig Clunas

Lecture 1???14:00 – 17:00,? 2nd? September

1902-1903: Xie He in Calcutta, and Nakamura Fusetsu in Paris

Lecture?2??14:00 – 17:00,? 3th? September

1922-23: Dong Qichang in London, and Hans Driesch in Beijing

Lecture 3??14:00 – 17:00,? 4th? September

1927-28: Pan Yuliang in Rome, and Paul Cézanne in Shanghai

Venue: The University of Chicago Center in Beijing,?20th floor, Culture Plaza, No. 59A?Zhong Guan Cun Street, Haidian District, Beijing

Three Transnational Moments in the History of Chinese Art

中国艺术史上的三个跨国瞬间

This series of three lectures concentrates on the first three decades of the twentieth century, when the two binary oppositions of modern/traditional, and East/West, first came to be applied to the art of China. It attempts to place the developments of this period in a wider framework, by paying close attention to the specific acts of translation and transposition which moved ideas and objects around the globe at this point, making for an unprecedented degree of transnational input into the way Chinese art was understood globally at this time. Each lecture takes as its starting point a pair of encounters between individuals, texts and places, to examine how an understanding of ‘the cosmopolitan’ – here defined simply as ‘how people have thought and acted beyond the local’ – can deepen our understanding and appreciation of the culture of this key period. Arguing that ‘cosmopolitanism is not a circle created by a culture diffused from a center, but instead that centers are everywhere and circumferences nowhere’, the series will try to find new ways of studying the modern art of China which finally move us beyond concepts like ‘influence’, to understand flows and connections in a more complex manner.

Lecture 1:

1902-1903: Xie He in Calcutta, and Nakamura Fusetsu in Paris

1902-1903年:谢赫在加尔各答,中村不折在巴黎

The first lecture of the series takes as one of its starting point the first engagements outside Asia with the ‘Six Laws’ of the 5th-century writer on painting Xie He, particularly the first English translation made by Okakura Kakuzo (1862-1913) in his 1903 book Ideals of the East.?Particular attention will be drawn to the Indian environment in which Okakura wrote this work, and to the way in which that environment conditioned the understanding of the influential British curator and art historian Laurence Binyon (1869-1943). The second starting point of this lecture is the training received in Paris by the Japanese artist Nakamura Fusetsu (1866-1943), author of one of the earliest and most influential histories of Chinese painting. Together these episodes will start to unpack a network of ideas which moved rapidly around the globe as ‘Chinese art’ came into focus as a new type of object for study.

Lecture 2:

1922-23: Dong Qichang in London, and Hans Driesch in Beijing

1922-1923年:董其昌在伦敦,杜里舒在北京

By the early 1920s a rich body of literature in a range of languages sought to interpret the history of Chinese art. This lecture will look at those developments, and at the ways in which a canon of key figures and key ideas came to be formed and circulated between major centres such as Beijing, London and Tokyo. At the same time it will examine the global reach of certain currents of thought which bore upon the understanding of art, and most particularly on the thought of Henri Bergson (1859-1941) and Hans Driesch (1867-1941), whose ideas of ‘vitalism’ were debated and deployed on a truly international scale. Appropriated by major scholars such as Cai Yuanpei (1868-1940) and Liang Shuming (1893-1988) these ideas formed part of a newly transnational framework of thinking about art.

Lecture 3:

1927-28: Pan Yuliang in Rome, and Paul Cézanne in Shanghai

1927-1928 年:潘玉良在罗马,保罗·塞尚在上海

This final lecture of the series will look at the flourishing of a truly global environment for Chinese art in the later 1920s, at the movement of artists between a number of points of activity, and will revisit one of the most famous controversies of an era which was particularly marked by polemic and debate. This was the famous controversy instigated by the painter Xu Beihong (1895-1963), whose essay ‘Doubts’ will here be resituated in the context of global reactions to modernism in the aftermath of the First World War, to show how an artist based in Nanjing could be a full participant in the flow of ideas which connected a range of sites in what was truly in the process of becoming an ‘art world.’ The lecture will conclude with some reflections on how we might create a less mechanistic art history, one which takes fuller account of the full range of art practices in the historical past.

About Craig Clunas

Craig Clunas (b.1954) holds a Ph.D in Mongol and Chinese Studies from SOAS, University of London. He worked at Victoria and Albert Museum for fifteen years as a curator and researcher, before taking up faculty positions consecutively at University of Sussex and SOAS. From 2007 to 2018, he held the chair of art history at Oxford. In honor of his distinguished research work, Clunas was elected in 2004 as Fellow of British Academy.

Clunas’s research and publication mainly focus on Ming China, as well as 20th century and contemporary China. Since the early 1990s, he has published a series of monographs on Ming material and visual culture, including?Superfluous Things: Material Culture and Social Status in Early Modern China?(1991),?Pictures and Visuality in Early Modern China?(1997), and?Elegant Debts: The Social Art of Wen Zhengming, 1470-1559?(2004). These represent his continuous exploration and contribution to the field. Clunas has strategically integrated various theoretical discourses into his inquiry, mainly Bourdieu’s?sociology, and anthropological theories, the latter echoed with the anthropological turn in art history as practiced in Europe and North America at the end of the last century. These two theoretical discourses are interwoven and complementary, and together feed into Clunas’s analysis that is intentionally distanced from the usual aesthetic approach in art history.

At the same time, his ability in creatively mining the historical materials and close reading of texts has provided his work with rich evidence, dissecting the social stakes in the production, circulation and reception of art. Clunas’s work is thus visionary, unique and powerful in the field of art history. On the other hand, by tracing art commodities and their meanings in motion, and treating the above as symptoms of social transformations, Clunas has also made important contributions to ‘Early Modern China’ as a historiographical topic from the perspective of Ming art and luxury goods consumption.

Courtesy of OCAT Institute, for further information please visit www.ocatinstitute.org.cn.

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Modern Art Museum Shanghai announces “Retrospectrum” featuring Bob Dylan’s art-足球开户系统 http://www.sohbed.com/modern-art-museum-shanghai-announces-retrospectrum-featuring-bob-dylans-art.html http://www.sohbed.com/modern-art-museum-shanghai-announces-retrospectrum-featuring-bob-dylans-art.html#respond Mon, 26 Aug 2019 08:33:25 +0000 http://www.sohbed.com/?p=102427

Bob Dylan is one of the great American artists and a worldwide cultural icon who has been inspiring audiences for six decades. Having forever changed the relationship between music and language, Dylan became the first musician to be awarded the Nobel Prize in Literature in 2016, recognised ‘for having created new poetic expressions within the great American song tradition’.

In the autumn of this year,?Retrospectrum, the most comprehensive survey of Dylan’s art to date, will invite visitors to experience his artwork in an immersive and interactive environment. The exhibition will be installed at Modern Art Museum (MAM), Shanghai, an institution focused on diversity, equality, exchange and education in September 2019. Its vast industrial architecture offers a versatile and dynamic space to connect the shared cultures of the East and West. Located along the ‘cultural corridor’ of museums and galleries that runs along the riverside in the Pudong New Area, MAM utilises innovative methods to facilitate public participation and engagement with art.

Bob Dylan, FOREVER YOUNG, 2018

Bob Dylan, WOMAN IN RED LION PUB, 2007

Paul Green, president of Halcyon Gallery, said: “One of the most important issues in taking a retrospective, in taking his art to China is to once and for all establish him as one of the world’s great artists,” he added. “Taking the most extensive body of work ever seen to China underpins this.”

Related Report from China Daily: Bob Dylan artwork exhibit prepares for China visit

About the exhibition

Dates: Sep 28, 2019 – Jan 5, 2020

Venue: Modern Art Museum Shanghai

Courtesy of Halcyon Gallery and Modern Art Museum Shanghai, for further information please visit www.halcyongallery.com or http://mamsh.org.

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Galerie Urs Meile presents Ju Ting’s solo exhibition “Scales” in Beijing-足球开户系统 http://www.sohbed.com/galerie-urs-meile-presents-ju-tings-solo-exhibition-scales-in-beijing.html http://www.sohbed.com/galerie-urs-meile-presents-ju-tings-solo-exhibition-scales-in-beijing.html#respond Mon, 26 Aug 2019 07:23:58 +0000 http://www.sohbed.com/?p=102423

Ju Ting, Untitled 062019 (detail), 2019; acrylic on board, 167x133x12cm

Galerie Urs Meile Beijing announces artist Ju Ting’s (*1983) solo exhibition?Scales, her first solo exhibition at Galerie Urs Meile Beijing following her 2018 solo exhibition?Ju Ting?in Lucerne. This exhibition will present the artist’s latest works from her?Pearl?and?Untitled?series. The artist applies many layers of acrylic paint on top of each others onto a wooden panel until obtaining a certain thickness. She then uses various methods to manipulate and model the stacked layers of color.

In the?Pearl?series, the artist uses a carving knife to cut open the paint and reveal the stacked layers of color within. Here the knife plays the role of the paintbrush, forming three-dimensional brush- strokes. At the same time, the artwork’s surface is embedded with many faintly visible layers. If the viewers move through the exhibition space, they will perceive the subtly shifting colors produced by the rows of vertical lines. Optical rhythm catalyzes a once plain two-dimensional space, creating motion within the picture.

As Ju Ting’s creations developed into the?Untitled?series, her artistic language continually moved forward in a progression revolving around the uniqueness of medium. With diluted acrylic, it is possible for the water and oil to separate. This means that if the neighboring layers of paint are not tightly ad- hered, each layer can be completely opened up. The artist then decided to peel back several of these dried, “all-over” layers in complete pieces, and lay them atop another wooden panel. Unlike the Pearl series, the traces of breakage presented in the?Untitled?series are mainly the products of the artist’s own actions, rather than the work of tools.

Within a single series, Ju Ting experiments with a variety of actions to explore their visual implications.?Untitled 063019?(2019, acrylic on board, 205 x 169 x 11 cm) presents a relatively flat surface encasing the textures of the other layers below, but the thread of her work is revealed through breaks in the surface. In?Untitled 072619?(2019, acrylic on board, 236 x 193 x 14 cm), the layers of color are laid out on the panel in their entirety, squeezed together to form wrinkles and color changes in the material. The complexity presented in the surface of?Untitled 072919?(2019, acrylic on board, 40 x 46 x 9 cm) combines multiple operations, including stacking, ripping, folding and suspension.?Untitled 080219?(2019, acrylic on board, 65 x 66 x 10 cm) leaves the wooden panel base exposed.

The creation of the Pearl and?Untitled?series can be seen as a process of constantly maintaining balance between control and serendipity. In other words, the presence of the artist’s hand causes the apparently orderly composition to deviate from mechanical uniformity. Adjusting the thickness and evenness of the paint applications, changing the depth and width of the carved lines, tearing away layers at different levels of force and speed… These different elements of manual control influence each other across layers, with the operator sometimes intentionally damaging the picture and producing texture, and sometimes happily accepting the unconscious aesthetic of glitches.

It is hard to simply classify Ju Ting’s practice as abstract painting, though she has clearly excluded representational content from her work process. Yet the layers of color and the various forces applied to them both by hand and by tool have visualized an indescribable, even obscure reality, a material reality presented through systematic explorations marked by constant uncertainty. This is especially the case for the?Untitled?series, with the covering, peeling and stacking of entire layers of color demonstrating destruc- tive violence and sagging weight. Ju Ting’s creative approach applies external forces on each “image layer.” The cut, folded and torn picture presents plasticity, as if form is organically generating from within the image.

Ju Ting was born in Shandong in 1983, and currently lives and works in Beijing. She graduated from the Printmaking Department with a BA in 2007, and with a master in 2013.

About the exhibition

Dates: 31.8.- 20.10. 2019

Opening: Saturday, August 31, 2019, 4 – 6.30pm

Venue: Galerie Urs Meile

Courtesy of the artist and Galerie Urs Meile, for further information please visit https://galerieursmeile.com.

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Three Shadows Photography Art Centre presents Shoji Ueda’s retrospective exhibition in Xiamen-足球开户系统 http://www.sohbed.com/three-shadows-photography-art-centre-presents-shoji-uedas-retrospective-exhibition-in-xiamen.html http://www.sohbed.com/three-shadows-photography-art-centre-presents-shoji-uedas-retrospective-exhibition-in-xiamen.html#respond Mon, 26 Aug 2019 03:03:05 +0000 http://www.sohbed.com/?p=102410

The first extended retrospective exhibition of Shoji Ueda in Xiamen, China, features 141 early and late works ranging from his masterful series?Sand Dunes?to the fashion photographs that helped trigger a reappraisal of his achievements.

Shoji Ueda (1913-2000), well known for hisiconic pictures taken around his hometown Tottori, would ultimately leave a major mark on the history of photography in not only his home country but also abroad. And he did it by remaining in his hometown Sanin, pursuing whatever imaginative ideas pleased him and never aligning himself with any particular movement, even as realism began to take center stage in main stream Japanese photography. His strain of modernism was so distinct that the “Ueda-cho (Uedastyle)” still generates fresh acclaim to this day.

Influenced by the Western avant-garde during his adolescence, Ueda maintained the passionate, uninhibited spirit of anamateur while he ran his own studio. His intricate compositions—prime examples of staged photography—often featured his family and his close friends in his neighboring sand dunes arranged like chess pieces. The worlds he managed to express within the constraints of commercial and fashion photography remain both surprising and deeply moving, as typified by?Mode in Dunes, a project he undertook at the age of 70.

Bird Scarer (1950) From Little biography (1975) From the series Dune (1983) From the series White wind (1981) From the series White Wind (1981) GITANES (1992) Kako and a Flower (1949) Papa, Mama and Children (1949) Scenery of the dune with my wife (1950)
“Awake or asleep, I always found myself thinking about photography.”

–Shoji Ueda

About the artist

Shoji Ueda was born in 1913 in Tottori Prefecture, Japan and started his career as a photographer by establishing a studio at his hometown in the 1930s. He cemented his reputation within tricately staged photographs in the Tottori sand dunes before tilting toward srealism during the 1950s and continuing to garner acclaim with photo books like?Children the Year Around, published in 1971. 1972, when he first traveled to Europe and published?Oto no nai kioku, marked a turning point in his international reputation. He was subsequently invited to participate in Les Rencontres d’Arles in 1978 and 1987. His works are highly regarded abroad and he has steadily built a reputation among European collectors and critics in particular. In 1996, he received the Ordre des Artset des Lettres of France. Ueda died at 87 in 2000. In 2013, Tokyo Photographic Art Museum held “100 Years of Birth! Shoji Ueda,” a large retrospective.

About the exhibition

Organizer:?Three Shadows Xiamen Photography Art Centre
Co-organizer:?Shoji Ueda Office
Art Directors:?Rong Rong & Inri
Curator:?Masako Sato
Opening:?15:00, August 31,2019
Talk:?16:00, August 31,2019
DurationAugust 31, 2019 -November?10, 2019? Closed on Mondays
Location:?Three Shadows Xiamen Photography Art Centre?
(No. 301, Building 2, Xinlinwan Business Center, JimeiDistrict, Xiamen)
Courtesy of Three Shadows Photography Art Centre, for further information please visit www.threeshadows.cn.
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Jean-Luc Mylayne: The Autumn of Paradise to be Presented in Shanghai-足球开户系统 http://www.sohbed.com/jean-luc-mylayne-the-autumn-of-paradise-to-be-presented-in-shanghai.html http://www.sohbed.com/jean-luc-mylayne-the-autumn-of-paradise-to-be-presented-in-shanghai.html#respond Sat, 24 Aug 2019 14:02:53 +0000 http://www.sohbed.com/?p=102402
How can one compare Vincent van Gogh and Jean-Luc Mylayne? Do we not associate these two names with lives and works that could not be more different from each other? We are certainly not instantly struck by any biographical or stylistic common ground or similarity of subject matter that would justify such a juxtaposition, but at the heart of these two artistic imaginations and the approach they take, we do find an abstract and, indeed, fundamental aspect that merits a closer look. It is the concept of time that crystallizes in their art via their chosen mediums, albeit each with a new “epochal” twist – painting in Van Gogh’s case, photography in Mylayne’s. While Vincent van Gogh accentuated the speed with which he painted in an unprecedented way[], Mylayne adds slowness, the prolongation of time to the process of taking pictures.
—Bice Curiger, curator of “The Autumn of Paradise” and Artistic Director, Fondation Vincent van Gogh Arles
“Jean-Luc Mylayne: The Autumn of Paradise”, is the French artist’s first institutional solo exhibition in mainland China. For more than forty years now, the work of Jean-Luc Mylayne (b. 1946) focuses on the encounter with birds, their fleeting presence captured by the camera. The bird in its natural habitat is Mylayne’s distinctive subject, serving not only as actor but also as conceptual partner on equal terms. Presenting an ensemble of about forty works created between 1979 and 2008, this exhibition, which originated at the Fondation Vincent van Gogh Arles, visually portrays deep conceptual connections between the works of Mylayne and Van Gogh, two artists working in varying mediums at different moments in art history. This connection between the artists is through their respective approaches towards the natural world, crystallizing time through representation, and challenging their era’s dominant way of seeing.
At first glance, Jean-Luc Mylayne’s photographs appear like randomly obtained everyday images situated in the transitional areas between unspoiled and rural landscapes. In addition to dominant nature, one can see traces of human civilization in the form of houses, streets, fences, and walls in the distance or at the edge of the picture. Characteristically, there is a bird in every image. Just as the geographical context of the scenes remains indefinite, the specific features of the birds are at times barely discernible. When the animals are captured in motion, they appear distorted and blurred. Sometimes one detects the winged protagonists only at second glance in the parts of the scenery that are out of focus or at the edge of the picture and partly truncated by it.
This seemingly non-hierarchical image composition does not conform to the perspectives of ornithological studies or classic nature photography which center on the distinctive features of the birds or the unusual flora. Mylayne focuses on the one particular bird as an individual rather than as a specimen of a particular breed. His pictorial compositions are based on a precise choice and combination of lighting conditions, weather, time of year as well as the selection of the frame and the positioning of the bird. Each “tableau” is well thought out; nothing, not even the smallest detail, is random. The images are intricately composed and always comply with the artist’s conceptual approach.

Jean-Luc Mylayne, No. 477, Décembre 2006 – Janvier Février 2007; C-print, 193.7×156.2cm

Thus, Mylayne’s photographs are a far cry from anecdotal snapshots. They are the result of months, sometimes even years of preparation. In the period of time indicated in a work’s title, the artist has explored the surrounding area, observed the selected animal and slowly gained its trust without feeding or taming it. This trust is the fundamental prerequisite for a relationship between the photographer and his subject and, by extension, for creating the image. When the moment has come and the scenery meets his expectations, Mylayne takes the photograph. Working with analogue technology, Mylayne’s photographs are unique prints (except for some small-format editions). Equally unique is the moment when the artist presses the shutter release button: a moment that will never return.
Together with Mylène Mylayne, his wife, collaborator and namesake, the photographer travelled through rural France and the American Southwest. In 2003, the American Lannan Foundation first made it possible for the couple to spend the winter New Mexico. Four back-to-back winters in Texas followed. Mylayne’s works of this “American period” are characterised by the resounding blue of the sky contrasting with the golden-yellow landscape. The flying protagonists are usually smaller songbirds. No larger birds of prey are featured in Mylayne’s pictures. Here, too, his focus seems to be on the ordinary, with the uniqueness of the bird and the moment revealing themselves only on closer inspection.

Jean-Luc Mylayne, N°301, Mars Avril 2005; C-print, 123×123cm, 2005, Copyright Jean-Luc Mylayne, Courtesy the artist and Gladstone Gallery, New York and Brussels

With all its premises – the use of analogue photography, the making of unique prints, the focus on the same subject over several decades and, above all, the long time needed to produce each individual work – Jean-Luc Mylayne has created an artistic oeuvre that is as radical as it is poetic and, to this day, remains unparalleled.
For the exhibition at Long Museum West Bund, the artist couple developed a hanging adapted to the bright galleries of Gallery 2. The arrangement of the works is deliberately not chronological but rather based on associative thematic groups.
A joint project with the Fondation Vincent van Gogh in Arles, France, and the Aargauer Kunsthaus, Aarau, Switzerland, the exhibition will travel to the Kestner Gesellschaft in Hanover and Huis Marseille, Museum for Photography in Amsterdam following its presentation in Shanghai.
Catalogue
In 2018, a comprehensive catalogue has been published in cooperation with the Fondation Vincent van Gogh in Arles. It includes a preface by Madeleine Schuppli (German/English edition). The monograph assembles essays by renowned authors Bice Curiger (CH), Director Fondation Vincent van Gogh; Jacqueline Burckhardt (CH), art historian; Christie Davis (USA), Program Director, Contemporary Art and Public Programs, Lannan Foundation; and Leo Lencsés (DE), curator and art critic; as well as the poem The Autumn of Paradise by Jean-Luc Mylayne.
About the Artist
Born in 1946 in France, Jean-Luc Mylayne lives and works in the world.?Selected Solo Exhibitions:?Jean-Luc Mylayne: Mutual Regard, The Art Institute of Chicago, The Arts Club of Chicago, Lurie Garden, Millennium Park, Chicago (2015); Jean-Luc Mylayne: Des signatures du ciel aux mains du temps, Museo Nacional Centro de Arte Reina Sofia, Madrid (2010); Jean-Luc Mylayne: Tête d’or, Musée d’Art contemporain de Lyon (2009); Jean-Luc Mylayne, Parrish Art Museum, Southampton, New York (2007–09); Jean-Luc Mylayne, Lannan Foundation, Santa Fe, New Mexico (2004, 2005, 2010); Jean-Luc Mylayne: les oies sauvages riaient et Dieu s’endormit t?t, Musée des Arts contemporains, Grand-Hornu, Hornu, Belgium (2004); Jean-Luc Mylayne, Musée d’Art moderne de la Ville de Paris / ARC, Paris (1995); Jean-Luc Mylayne, Musée d’Art moderne, Saint-étienne (1991).?Selected Group Exhibitions:?The Photographic I – Other Pictures, S.M.A.K., Gand, Belgium (2017); ILLUMInations, 54th Venice Biennale (2011); Terra Incognita: Alighiero e Boetti, Vija Celmins, Neil Jenney, Jean-Luc Mylayne, Hiroshi Suigmoto, Neues Museum Weserburg, Bremen (1998); Jurassic Technologies Revenent, 10th Biennale of Sydney (1996); Zeichen und Wunder (Signs and Wonder) Niko Pirosmani and Recent Art, Kunsthaus Zürich (1995).
About the Curator
Bice Curiger is a world-renowned art critic and exhibition curator. After a degree in the history?of art at the University of Zurich, she helped found Parkett, a series of books about contemporary art, published in Zurich and New York, and was also its editor.
As curator at the Kunsthaus, Zurich, from 1993 to 2013, she organised many exhibitions which were also presented in major museums and institutions in Hamburg, London, Milan and Paris. Among the most remarkable were Signs and Wonder – Niko Pirosmani and Contemporary Art (1995), Birth of the Cool – American Painting from Georgia O’Keeffe to Christopher Wool (1997), Hypermental – Rampant Reality from Salvador Dali to Jeff Koons (2000), Peter Fischli & David Weiss – Flowers & Questions (2007), Friedrich Kuhn – The Painter as Outlaw (2008), and most recently Riotous Baroque – from Cattelan to Zurbarán (2012), also shown at the Guggenheim Museum in Bilbao (2013).
About the exhibition
Dates: 2019.8.31—2019.12.8
Venue: Long Museum
Program of Supporting Events
Curator’s talk with Bice Curiger
Sunday, 01.09.2019
Long Museum West Bund, Multifunctional Hall
15:30 – 16:30
Courtesy of the artist and Long Museum, for further information please visit www.thelongmuseum.org.
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“Eyes of Concern: Li Yang’s Chinese Painting Exhibition” Commenced-足球开户系统 http://www.sohbed.com/eyes-of-concern-li-yangs-chinese-painting-exhibition-commenced.html http://www.sohbed.com/eyes-of-concern-li-yangs-chinese-painting-exhibition-commenced.html#respond Thu, 22 Aug 2019 06:07:55 +0000 http://www.sohbed.com/?p=102378

Li Yang’s works discuss the world’s changes, reflecting the topics of the times as well as expressing humanistic care. In Li Yang’s art career for many years, he has created works by inheriting the artistic creation concept of figure paintings from predecessors and combining this with his personal experience of different cultures and conventions in China. By understanding various characteristics of diversified national cultures and integrating them with the spirit of the times, Li Yang has extracted the essence and the artistic value of life. Professor Zhang Peng commented that Li Yang’s art creation explores the spiritual world of Chinese people and digs into new expression methods from daily life, thus to stimulate the vitality of art.

“The Sunny Noon of Fishing Port” 217cmx273cm 2017 “The Market in Xishuangbanna”250cmx193cm 2019 “The icy and snowy Hulun Buir” 250cmX192cm? 2018 “Office Workers” 200cm×200cm 2015 “Mashup” 180cm×160cm 2019 Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition Poster

At 3 pm on August 14th 2019, as a significant component of NAMOC Invitation Academic Exhibition Series, “Eyes of Concern: Li Yang’s Chinese Painting Exhibition” was launched at the No. 5 exhibition hall in the National Art Museum of China. The exhibition focuses on Li Yang’s recent “realistic” figure paintings, reflecting the artist’s research and art creation in terms of the national theme, people’s livelihood and the urban societal topics.

In the art development process in China since the 20th century, in order to produce artworks with humanistic care and express personal reflections on the changing world, artists have always been encouraged to be concerned with current events, social development and people’s daily life. Since entering the Central Academy of Fine Arts in the 1980s, Li Yang’s study and practice have been consistent with this artistic process. In 2009, Li Yang published an article entitled “Creating Works Based on ‘Painting from Life’ (“写生作品化”) in the journal The Fine Arts (Meishu,《美术》), which centralized his art practice and teaching experience over many years. In this article, Li Yang inherited the traditional teaching method in regards Chinese paintings and reflected on the dialectical relationship between painting from life and artistic creation. All the research is showcased in this exhibition through his artworks.?

Wu Weishan, Director of the National Art Museum of China, commented on Li Yang’s paintings in the preface for this exhibition. He concluded that Li Yang’s works present a strong academic style factor while emphasizing the significance of “painting from life” and extracting figure themes from daily life at the same time. “Xu Beihong and Jiang Zhaohe’s foundation regarding academic painting traditions has formed the framework of Li Yang’s artworks, which enlightens the realistic tone and vivid expressional style in his work. In addition, he has also gained revelations from Li Keran’s notion of? “painting from landscape (“对景写生”) and Lu Chen’s ink structure. By responding to reality and daily life in his art creation, Li Yang experienced the notion of ‘creating works by external learning from Naturalism and internal comprehension(“外师造化,中得心源”)’ in traditional Chinese Painting” (Wu Weishan, 2019).

In the process of creating Chinese paintings, the relationship between “sketching from nature” and art creation is always discussed and researched. Art creation ought to be practiced based on the result of study from Naturalism and then extracting themes should be applied to a specific piece of work. By doing so, an integrated “artwork” could be eventually produced. At the exhibition site, numbers of Li Yang’s large-scale ink paintings focus on the rushing figure of young women in the city, the simple lifestyle of the labors and the details of the clothing of the nomadic people. Through observing various lifestyles and cultures in detail and combining the request of “artification”, Li Yang outlines a vivid social picture and people’s livelihood using Chinese brush and ink as the medium.?

The exhibition remains open till the 25th August, 2019.?

Text by Emily Weimeng Zhou

Edit by Sue/足球开户系统 ART INFO

Exhibition View by Hu Sichen

About the Exhibition:

Duration: August of 14th – August of 25th, 2019

Venue: No. 5 Exhibition Hall in the National Art Museum of China

Organizer: The National Art Museum of China

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Beijing Inside-Out Art Museum presents “Yvonne Rainer and Wen Hui—Dance Only Exists When It Is Performed”-足球开户系统 http://www.sohbed.com/beijing-inside-out-art-museum-presents-yvonne-rainer-and-wen-hui-dance-only-exists-when-it-is-performed.html http://www.sohbed.com/beijing-inside-out-art-museum-presents-yvonne-rainer-and-wen-hui-dance-only-exists-when-it-is-performed.html#respond Thu, 22 Aug 2019 01:26:41 +0000 http://www.sohbed.com/?p=102397

Conceived by Carol Yinghua Lu, Yvonne Rainer and Wen Hui: Dance Only Exists When It’s Performed surveys the practices of two seminal figures in choreography and contemporary art. Both Yvonne Rainer, based in New York and Wen Hui, based in Beijing, are dancers, choreographers and filmmakers. Primarily trained in dance, both artists have participated in and interacted with creative practitioners in the field of visual art through the courses of their careers.

Yvonne Rainer is a singular artist whose impact on the history of dance, film, and art is profound. Born in San Francisco in 1934, Rainer moved to New York in 1956, and was immersed in downtown art circles when she developed an interest in dance. Pursuing dance in earnest in the late Fifties, Rainer studied at the Martha Graham School; with Merce Cunningham and Anna Halprin; and created her first dance work in a workshop taught by Robert Dunn. As one of the founders of Judson Dance Theater in 1962, Rainer quickly gained recognition as an avant-garde choreographer and a primary theorist of what became known as postmodern dance. Throughout the next decade, Rainer presented rigorous, ground-breaking dance performances, often incorporating quotidian movement, text, and film projection in both theatrical and art venues.

After making several short films in the late Sixties, Rainer turned her attention to film in the Seventies, and became a prominent filmmaker who indexed the political, cultural, and psychological landscapes of her time. Noted for a deep engagement with avant-garde formal strategies, feminist consciousness, and challenges to conventional film narratives, Rainer’s films of this decade are landmarks for their complex (self-) interrogations of a range of topics and issues, including melodrama, feminine subjectivity, the legacy of anarchism, political violence and psychoanalysis; while picturing the fertile, but changing art context of her home in downtown Manhattan.

Presented as a project by artist Simon Leung, Introduction to Yvonne Rainer / Beijing is the first comprehensive look at the first two decades of Yvonne Rainer’s dance and film work from 1961-1980 in China. Designed as a series of events, including dance performances, public conversations, and screenings, and with the proposition that the work of Rainer remains as resonant and relevant today as they did in a bygone era, this project intends to commence a discussion of Rainer’s work within a contemporary Chinese context with hopes of many more engagements to come.

Born in 1960, Wen Hui graduated from Beijing Dance Academy in 1989, and went to New York for further studies in modern dance in the 1990s. In 1994, she established the Living Dance Studio in Beijing with documentary film director Wu Wenguang. The Living Dance Studio was committed to exploring the artistic process in an open arena, working with artists from all media and all disciplines, and creating performances that integrated dance, theatre, and all forms of audio/visual art, with a strong focus on individual memories, histories and social experiences.

In the past two decades, Wen Hui has always been integrating her observations, experiences and analysis of Chinese social and historical realities into over 20 works through recounting the stories of individuals on stage. She works with non-trained dancers in all of her choreographed works and considers their real life experiences important and valuable components of their expressions and performance on stage. Curated by Su Wei, Wen Hui: Living Dance covers all aspects of her practice with countless archival materials, videos, and photographs, forming a chronological narrative. They are presented in a structure consisting of rehearsal, stage, backstage, and workshops, resembling the full process of Wen Hui’s practice.

Both presentations will be joined in the second floor of the museum, which is transformed completely into a stage, where re-enactments of signature works choreographed by Yvonne Rainer in the 1960s and Wen Hui in the 1990s will be presented.

About the exhibition

Dates:?Aug 24, 2019 – Nov 24, 2019

Venue:?Inside-Out Art Museum

Courtesy of the artists and?Inside-Out Art Museum, for further information please visit www.ioam.org.cn.

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Multimedia Project “Soft Machine” will be featured at Ming Contemporary Art Museum-足球开户系统 http://www.sohbed.com/multimedia-project-soft-machine-will-be-featured-at-ming-contemporary-art-museum.html http://www.sohbed.com/multimedia-project-soft-machine-will-be-featured-at-ming-contemporary-art-museum.html#respond Mon, 19 Aug 2019 23:02:20 +0000 http://www.sohbed.com/?p=102372

Soft Machine is a multimedia project investigating the contemporary status of dance in Asia. Using research, live performance, photography and video it offers an insight into the rich landscape of independent dance makers defining this art form today.

Prompted by Sadler’s Wells first Out of Asia season in 2011, Singaporean artist and performance maker Choy Ka Fai decided the picture of contemporary dance in Asia needed further scrutiny. He embarked on a three-year research project traveling to 13 cities in five countries to meet and interview over 84 contemporary dance makers, dancers and curators. Soft Machine is the result of this journey.

The project unfolds in two parts. The first is an installation made of video interviews and dance documentaries that map dance makers in China, India, Indonesia, Singapore and Japan. The second part is a series of live performances focusing on five choreographers whose biography and poetics make them different from their peers.

Soft Machine Expedition is an installation of video documentaries and contemporary dance archives, capturing 88 choreographic encounters collected over a three year journey across the dance landscape of Asia. This collection of images and interviews is not an exhaustive survey of dance made today but an attempt to map, make visible and give a voice to the realities, ideas and dance languages of dance makers in the region.

ARTIST STATEMENT

On 7th of September 2011, London dance powerhouse Sadler’s Wells uploaded a 5-minute promotional video titled “Out Of Asia – The Future of Contemporary Dance” for their new season preview. I was intrigued and disturbed at the same time by the video. As an Asian artist, my immediate response was: “Who are you to tell us what the future of contemporary dance is and what is coming out of Asia? ”.

From my personal perspective, the curatorial concern were superficial. Asia is extremely diverse culturally, it is difficult to access local knowledge and tradition without investing time for research or first-hand experience. There is a recurring sense of mystification put upon the cultural production from the East for the cultural consumption market of the West. The persistence of exoticism is a sadly evident in the institutional promotion of contemporary dance from Asia.

My initial research revealed to me that it is clear that the discussion of contemporary dance in Asia is still in an embryonic state and has been mostly conducted through academic research under immense influence from the West. With this revelation as a starting point, I thought someone from Asia should create new spaces for such discourse. From the naive idea of “From Asia For Asians”, I started an 18-month journey across 13 Asian cities in my search for what is “Inside Asia”.

CREDITS

Concept, Direction and Documentary – Choy Ka Fai | Dramaturge – Tang Fu Kuen | Collaborators – Rianto, Surjit Nongmeikaipam , Xiao Ke x Zi Han and Yuya Tsukahara | Documentary Soundtrack – Zhou Zi Han |Technical and Production Manager – Yap Seok Hui/ Art Factory | Tour Manager – Mara

ACKNOWLEDGEMENTS

Soft Machine is commissioned by Esplanade – Theatres on the Bay, Singapore for da:ns festival 2015 | The development of the project is funded by National Arts Council, Singapore | With support from TheatreWorks, Singapore – danceBox, Kobe – Kyoto Experiment – Attakkalari Centre for Movement Arts, Bangalore and Living Dance Studio, Beijing | Soft Machine Digital Archives are created with the support of deSingel International Kunst Campus, Antwerpen

About the exhibition

Dates:?Aug 24, 2019 – Sep 15, 2019

Opening:?Aug 24, 2019, 16:30

Venue:?Ming Contemporary Art Museum

Courtesy of Ming Contemporary Art Museum, for further information please visit www.mcam.io.

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Shanghai Power Station of Art presents Photography of Jean Baudrillard-足球开户系统 http://www.sohbed.com/shanghai-power-station-of-art-presents-photography-of-jean-baudrillard.html http://www.sohbed.com/shanghai-power-station-of-art-presents-photography-of-jean-baudrillard.html#respond Fri, 16 Aug 2019 23:35:44 +0000 http://www.sohbed.com/?p=102357

At the 90th anniversary of the birth of the French thinker Jean Baudrillard (1929-2007), Shanghai Power Station of Art will hold the exhibition, “Car l’illusion ne s’oppose pas à la réalité… [For Illusion is not the Opposite of Reality…] Photography of Jean Baudrillard”, curated by Dawei Fei and Marine Baudrillard as co-curator. This exhibition of 50 photographic works produced throughout Baudrillard’s career will be presented alongside video, photo albums and extracts of his writing on art and theory. Framed within the visual landscape of Baudrillard’s photographic practice, visitors will be invited to rethink his vast and unique contribution to the history of philosophy.

Baudrillard has often been described as “The High Priest of Postmodernism.” His theory of simulacra, symbolic consumption and symbolic exchange has become an indispensable foundation of postmodern cultural research. Baudrillard believed that in the society of consumerism, symbolized goods and ” hyperreality” symbolic logic shattered the stability of the subject, and disrupted any fixed definition of truth and meaning. Jokingly describing himself as a “theoretical terrorist”, Baudrillard resisted the violence of symbols with a kind of theoretical violence, trying to participate in the game whilst existing outside of it with explosive force.

Baudrillard’s attitude to photography is also unique. Just as he insisted that he was ‘not a philosopher’, Baudrillard always maintained an “amateur” vision of photography. After acquiring a camera by chance in the early 1980s, the philosopher began to pursue his theoretical practice through the medium of photography. Taking the camera with him on academic exchanges or personal trips, Baudrillard’s photography focused on snaphots of daily life. Yet, human figures are notably absent from these images; in a series of ‘scenes’ and ‘objects’, urban and domestic environments give visual form to Baudrillard’s philosophical ideas.

Jean Baudrillard, Amsterdam, 1989, Photography, 103x150x4cm. Courtesy of Marine Baudrillard Jean Baudrillard, Luxembourg, 2008, Photography, 103x150x4cm. Courtesy of Marine Baudrillard Jean Baudrillard, New York, 1997, Photography, 103x150x4cm. Courtesy of Marine Baudrillard Jean Baudrillard, Paris, 1985, Photography, 103x150x4cm. Courtesy of Marine Baudrillard Jean Baudrillard, Sainte-Beuve, 1990, Photography, 103x150x4cm. Courtesy of Marine Baudrillard Jean Baudrillard, St Clement, 1987; Photography, 103x150x4cm. Courtesy of Marine Baudrillard

As the photographic critic Zheng Gu has commented, Baudrillard “completely rejected the typical approach to the photographer as subject, instead exploring the nature of medium from the perspective of the thing being photographed”. In a 1998 essay from which this exhibition takes its name, Baudrillaud argued that photography is an “art of disappearing. Only what comes into being in the mode of disappearance is truly other”. If the existence of “the Other” is dependant upon the disappearance of the subject itself, then photography is concerned with unveiling the “Otherness” buried in reality, capturing the mundane appearance of the world in order to reveal its strange attraction. So, for Baudrillard, photography represents the loss of identity. He once said: “I find that when I shoot, the subject and I are actually in a reciprocal and seductive relationship. Here, the subject and object no longer have a separate existence and instead become an?integral whole. I was attracted by this kind of integrity and became interested in photography.”

The exhibition has been exhibited at Lianzhou Foto, Guangdong Times Museum and 足球开户系统 Art Museum, Beijing. In its presentation in Shanghai, the newly updated exhibition will explore the convergence of Baudrillard’s theoretical and photographic practice, revealing a parallel interrogation of the threshold between illusion and reality.

About the curator

Dawei Fei, born in 1954 in Shanghai, is a Chinese contemporary art critic and an exhibition curator. He was a worker in a factory in Shanghai from 1971 to 1981. At the year of 1981, he entered Central Academy of Fine Arts and became a professor after graduation. In 1980s, he started to devoted himself into Chinese contemporary art as a critic and a curator. He then lectured in France from 1986 to 1987, introducing avant-garde art of 1985. During 1987 and 1989, he attended the planning and preparation work of “Magiciens de la Terre” held by the Center Pompidou while promoting Huang Yongping, Gu Dexin and Yang Jiechang to the exhibition.? In 1990, he independently curated the exhibition “Chine Demain pour Hier” in France and introduced six artists to the public: Huang Yongping, Cai Guoqiang, Chen Zhen, Yang Jiecang, Gu Wenda and Yan Peiming. In 1991, he curated “Exceptional Passage: Chinese Avant-Garde Artists Exhibition” in Japan. In this exhibition, “New Measurement Group” first received international attention. In 1990s, Fei Dawei and these artists had established close cooperations in multiple exhibitions. In 2002, Fei Dawei was appointed the director of the Ullens Foundation of Arts. By 2008, Fei Dawei had built up a collection of nearly 2,000 works of contemporary Chinese art. He founded the Ullens Center for Contemporary Art in Beijing from 2005 to 2007. In 2007, he planned the opening exhibition of the Ullens Center for Contemporary Art, “’85 New Wave”.? In 2008, he retired as director of the Ullens center for contemporary art and the Ullens foundation and became an independent curator again. He has been the rotating chairman of PSA academic committee since 2016 and was one of the curators of “Fondation Cartier pour l”art contemporain, A Beautiful Elsewhere” in 2018.

About the co-curator

Marine Baudrillard met Jean Baudrillard in 1970 when she arrived at Paris Nanterre University. She was 25 years old and had recently returned from a sailing trip around the world. She has worked as a journalist for television and magazines, an artistic director, and scuba-diving instructor. Marine and Jean married in 1994. She is the manager of ‘Cool Memories’, the Association of Friends of Jean Baudrillard.

About the exhibition

Car l’illusion ne s’oppose pas à la réalité…

Photography of Jean Baudrillard

Dates: August 24th, 2019-September 28th, 2019

Venue: 3 floor, PSA

Organizer: Power Station of Art

Courtesy of Power Station of Art, for further information please visit www.powerstationofart.com.

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HdM Gallery announces “Li Jingxiong: Making Transcendents On Demand” opening on Aug. 24-足球开户系统 http://www.sohbed.com/hdm-gallery-announces-li-jingxiong-making-transcendents-on-demand-opening-on-aug-24.html http://www.sohbed.com/hdm-gallery-announces-li-jingxiong-making-transcendents-on-demand-opening-on-aug-24.html#respond Fri, 16 Aug 2019 07:24:38 +0000 http://www.sohbed.com/?p=102368

HdM Gallery will present Li’s most recent paintings, sculptures and video works. The show will continue until the 28th of September.

From the beginning of Li’s career, the expression of materialism within painting and sculpture has always been the core of his artistic experiment. Starting from his different treatments of materials (including Styrofoam, hugely popular online T-shirts, fireproof fabric, abandoned computer and so on) expressively using collage, these works have been gradually seen by the artist as a synecdoche: parts that contain information on the whole.

The title of this exhibition originates from the transcendent culture of Chinese online literature. The artist sees the system of symbols constructed by Capitalism as ‘ubiquitously invisible’ because it is everywhere yet impossible to find. This exhibition combines three series of new works. Altogether, they express Li Jingxiong’s interest in the system of symbols pervading our lives. He created a series of paintings, sculptures and video works with special characteristics inspired by Chinese fantasy novels, by celebrities’ interviews, by hacker techniques, by the fashion industry and documentaries on genetic science.

“It requires a heart three inches long, a soul five feet large, which do not melt in fire, do not dissolve in water, although everyone is different but you shall always find a way, it is a difficult and eerie process, and takes some time to discover” Modern fantasy literature came into vogue at the beginning of the 21st century in the Chinese Internet world. Because of its complete view of world and direct expression of human desires, it became one of the most influential popular literature; in it, the artist sees the possibility of new expressions. Names of fantasy novels are formed into the shapes of and exhibited as sculptures. In 2018, the first DNA editing of infants who are still developing inside their mothers proclaimed the birth of a new kind of art – “the collage of life”. The digitalization of metaphysical principles being simulating patterns, – DNA becoming its origin – the “DNA” series of painting and sculpture describes these strange genome images. Besides, the computing technique of changing a face with algorithms was applied to his video latest work ‘Hyperfake.’ In it, Li Jingxiong combines knock-off products and a celebrity’s interview together to suggest the total division between substantial iconic material and sheer image production. As a result, we can find out the narrative pattern shaping truth and falsehood. At the same time the images of celebrities are robbed of their candour.

Li Jingxiong was born in 1987 in Wuhu, Anhui, China. He graduated from Nanjing University of the Arts with a master degree in 2013; he currently lives and works in Shanghai. He is apt at composing fictitious and dramatic narratives – he also combines, destroys and reconstructs objects in different materials, and also deftly displays his philosophical system and life experience to the audience. His recent solo exhibitions include Red Rocks, HdM GALLERY, Art Basel “Insights”, Hong Kong, China, VIOLENCE ON DEMAND, Hong Kong, China, FLESHWARE, chiK11 art museum, Shanghai, China, BAIYIN, HDM Gallery, Hangzhou, China etc. Li Jingxiong’s work are widely shown in art museums and public institutions such as UCCA Beijing, chiK11 art museum, Sifang Art Museum, China Fine Art Academy and Times Art Museum among others.

About the exhibition

Dates:?24/08/2019?–?28/09/2019

Venue: HdM GALLERY

Courtesy of the artist and HdM GALLERY, for further information please visit www.hdmgallery.com.

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Leo Gallery presents “Photography Reforged: Cai Dongdong Solo Exhibition” in Shanghai-足球开户系统 http://www.sohbed.com/leo-gallery-presents-photography-reforged-cai-dongdong-solo-exhibition-in-shanghai.html http://www.sohbed.com/leo-gallery-presents-photography-reforged-cai-dongdong-solo-exhibition-in-shanghai.html#respond Wed, 14 Aug 2019 07:38:29 +0000 http://www.sohbed.com/?p=102348

“Photography Reforged” refers to Cai Dongdong’s reflection, deconstruction and reconstruction of the operational mechanism and the image production of the medium of photography. Almost from the moment that he stopped shooting photographs, Cai Dongdong has become a photography artist, and more accurately, become an artist who works on photography. He quitted being an image producer, instead, he started to work on photos that already exist in reality, or, “surging these photos like a surgeon”.

The photographs are partly taken from the discarded photos he took in the past, but more from the flea markets where he collects a variety of old photos and negatives, bring them back to the “darkroom”, and think about possible “surgical” solutions from time to time. Curling, sanding, transplanting, scratching, tearing, burning and else, just like operating with a scalpel which has a sense of violence, but in fact the goal is to save, is to discover some kind of “dramatic structure” behind the rigid images and offer them new vitality. This process depends on whether there is the possibility of creating a new “punctum”, as he looks into the images and the images look back into him.

Cai Dongdong, Rehearse, 2019; Installation, photography, video, silver gelatin print, wood box, single channel recording, 53.4×40.2x41cm

 

The photography around us is still mainly focused on how to produce a new photo in the form of documentary, role-playing and digital production, yet Cai Dongdong “tries to extend an (old) photo”—in this way, a photo can be alienated into a painting, a sculpture, an installation and even a theatre space, to some extent, it transforms photography from industrial production to manual form. The extension of the image is accompanied by the deconstruction of the image. For Cai Dongdong, perhaps his “punctum” means the pleasure of deconstruction – the deconstruction of the original context of the image, as well as the ideology behind it.

Cai Dongdong, Bullfighting, 2018; Installation, photography, silver gelatin print, 59×46.5cm

Although some of the works like “The Rolled-up Road”, he implemented some kind of social intervention in the way of reversing the image, but in my opinion, the most critical part of Cai Dongdong’s work is not just the visual intervention, but the complete overturn of the one-way photography viewing method. When you view the photos, the photos also view you—this is the point that he always reminds himself and us at any time, for which he always put in mirrors or camera lens in his works, to highlight the gazing and encroachment from the images. Therefore, a rotational relationship between the viewer and the image is established, and the human subjectivity is no longer there—the mirror re-encloses us into the image, and the lens – we make the lens, but we become slaves or victims of the lens.

Cai Dongdong, Three little girls, 2017; Photography, silver gelatin print, 41x61cm

His metaphysical thinking about the image also gave birth to another installation, “A Jar Camera”, as a lens was framed in an ancient pottery pot which was unearthed in his hometown. The subtext seems to tell the story that the human history is already full of all kinds of “photography” even before the invention of the camera…

About the artist

Cai Dongdong was born in Tianshui, Gansu Province in 1978. He studied at Beijing Film Academy in 2002, currently lives and works in Beijing, China and Berlin, Germany.

His artistic creations include photography, installation, video and social art practice. He was awarded The First Prize of 3rd Terna Award for Contemporary Art Award, Italy, and TOP 20 Young Photographers – 2015 China Contemporary Photography, China.

Cai Dongdong participated in various exhibitions of different art museums and institutions, including Museum for Photography (2017, Berlin), Eli Kleim Gallery (2017, New York), Pully Museum of Art (2017, Switzerland), Taikang Space (2016, Beijing), Potsdam c/o Waschhaus (2016, Berlin), Minsheng Art Museum (2016, Shanghai), Hive Center for Contemporary Art (2015, Beijing), Three Shadows Photography Art Centre (2015, Beijing), 足球开户系统 Art Museum (2015, Beijing), Echigo-Tsumari Triennial (2015, Niigata), Folkwang Museum (2015, Essen, Germany), Pace Beijing (2014, Beijing), He Xiangning Art Museum (2014, Shenzhen), Les Amis de Nouvelles D’Europe (2014, Vienna), Urban Arts Space, the Ohio State University (Ohio, 2014), China Art Museum (2011, Beijing), FRAC Gallery (2011, Turin, Italy), Donggang Museum of Photography (2006, Korea), Guangdong Museum of Art (2005, Guangzhou), etc.

About the exhibition

Dates:?Aug 24, 2019 – Oct 19, 2019

Opening:?Aug 24, 2019, 15:00

Venue: Leo Gallery

Courtesy of the artist and Leo Gallery, for further information please visit?www.leogallery.com.cn.?

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A Modern Exploration of A Chinese Landscape Painter: “Ji Zi—The Journey of Spirit” is Revealed in Hebei-足球开户系统 http://www.sohbed.com/a-modern-exploration-of-a-chinese-landscape-painter-ji-zi-the-journey-of-spirit-is-revealed-in-hebei.html http://www.sohbed.com/a-modern-exploration-of-a-chinese-landscape-painter-ji-zi-the-journey-of-spirit-is-revealed-in-hebei.html#respond Mon, 12 Aug 2019 22:36:41 +0000 http://www.sohbed.com/?p=102315

Nowadays, artist Ji Zi is a special case in the field of Contemporary Chinese Ink. Different from current types of creation, Ji Zi’s works have become a style of Chinese contemporary art creation and he has become a case for continuous discussion in the international field. Critics such as Arthur C. Danto noticed the unique value of his paintings. His works were exhibited in various museums in the USA and Britain as the contemporary practice of Chinese artists that are to be observed. ?

On 3rd of August, 2019, Ji Zi’s solo exhibition “Ji Zi—The Journey of Spirit” commenced in Shijiazhuang Art Museum in Hebei. It is the first time that the artist has an exhibition in his homeland to display his artworks and review related archives academically. The exhibition is co-organized by the Hebei Artists Association and the Shijiazhuang Art Museum, showcasing 33 works in the artist’s final years. Zhang Zikang serves as the academic host, and Wang Chunchen serves as curator.?

Professor Wang Shaojun, Deputy Secretary of the Party Committee of the Central Academy of Fine Arts, gave a speech in the opening ceremony Critic Jia Fangzhou gave a speech in the opening ceremony Cao Fengxiang, Deputy Director of Shi Jiazhuang Art Museum gave a speech in the opening ceremony Xu Houfu, Vice President of Hebei Artists Association, gave a speech in the opening ceremony Curator Wang Chunchen gave a speech in the opening ceremony Jiang Shiguo, Vice President of Hebei Artists Association, hosted the opening ceremony Group photo of honored guests Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Boundlelss Land,Ink on Paper,184x145cm,2009 Epic of Nature (40 meters) Infinite Cosmos, Ink on Paper, 124x248cm, 2009 Between Sky and Earth, Ink on Paper, 184x145cm, 2009 Heavenly Song,185cmx145cm,Ink on Paper,2011 Dao of Ink series, No.4 Flying Snow No.1,145x366 cm,Ink on Paperr,2010 Future Channels,195x185cm,Ink on Paper,2010 Dimension of Ages,183.5x144.5 cm,2013 New Moon,195x185cm,Ink on Paper,2010 Poster

The exhibition, as a retrospect of the artist’s journey in terms of art creation, showcases a tribute by institutions based in the artist’s hometown on the third anniversary of the artist’s death. It also provides an art creation field and theoretical circles with an opportunity to reflect on contemporary Chinese paintings. Xu Li, Vice President of the Party Committee of the Chinese Artists Association, sent a congratulatory letter to the opening ceremony. He commented that Mr. Ji Zi is adept at integrating traditional Chinese philosophical thoughts in his paintings. He used them as the cornerstone for his art creations, thus exploring a unique way to transform traditional Chinese painting, namely, “Ink Realm of Landscape Painting” (Mo Dao Shan Shui, 墨道山水). This enhanced the international understandings of Chinese art in the new era.?

Professor Wang Shaojun, Deputy Secretary of the Party Committee of the Central Academy of Fine Arts, gave a speech at the opening ceremony. He concluded that the most significant contribution of Mr. Ji Zi is his spirit. His art is spiritual in nature. Although he uses traditional Chinese painting as the intermedia, instead of following the classical road, he pursued a mental exploration and reflected on the universe and life. What is behind Mr. Ji Zi’s artworks is a human vision and an attitude towards the seeking of personal spirits.?

In the opening ceremony, Critic Jia Fangzhou mentioned that Mr. Ji Zi has achieved a breakthrough in the field of landscape painting. He did not only use the concept of “Tao” to examine the nature of heaven and the earth, but also constructed a sense of structure beyond the landscape to create a sense of the times.?

This is the most important topic in the art world when discussing the art of Ji Zi. It is also the most intuitive and emotional understanding of audiences when looking at the paintings of Ji Zi. By observing his works, audiences could understand them as paintings using Chinese ink as the intermedia and explore some special techniques in traditional Chinese paintings such as “Cun (皴)” and “Dyeing (染). However, at the same time, the entire aesthetic of his works is distinguished from the traditional Chinese landscape and even contemporary ink paintings. It constitutes the particular nature of Ji Zi’s art.?

Born in Hebei in 1941, artist Ji Zi was interested in painting from an early age. However, he neither studied in a professional art school nor worked in any art institutes due to his own situation. He learned traditional ink paintings by himself, concentrating on the “Northern School Landscape (Bei Pai Shan Shui, 北派山水)”, based on his personal interest and enthusiasm. Later on with an increase in the trend in traditional ink paintings, he developed his own unique art style to create artworks. It is such “amateur” art path that has made Ji Zi’s art of today and also allowed the current art field to reflect on the term “professional”. Since modern times, there have been several styles in terms of the development of Chinese Painting, namely, realistic ink paintings advocated by Xu Beihong and Jiang Zhaohe, the formalistic ink paintings represented by Lin Fengmian and Wu Guanzhong and the conceptual ink paintings practiced by Gu Wenda among others.?

From art critic Wang Duanting’s perspective, he believes that Ji Zi does not belong to any of these categories. Instead, his art showcases an exploration between the formalistic ink paintings and the conceptual ink paintings. He depicted an existence in parallel to nature. Apparently, starting with the traditional ink paintings, especially the “Northern School Landscape”, Ji Zi developed his artistic style by undergoing a modern transformation. Chao Xiaoxin concluded that Ji Zi had realized a successful shift from the panoramic landscape in the Song Dynasty towards a modern style. On the one hand, he represented a contemporary spirit; on the other hand, he developed a form of language with a style of “rich, black, dense and thick” (浓,黑,密,厚).

Since the twentieth century, the development of Chinese art cannot avoid the modern context. Born in traditional Chinese culture, the Chinese Painting shares the same context. The aesthetics of formalism from western countries, the conceptual expression and the contemporary aesthetic interest have jointly constituted Ji Zi’s art creation. Mr. Yin Shuangxi commented on Ji Zi’s paintings that his works do not only express the singularity of the ancient ruins but also represent the loneliness of modern Sci-Fi movies. Many spectators gain this sort of “magic feeling” in Ji Zi’s art. Using mountains, water and clouds etc. as the main symbols and transforming many western artistic elements, Ji Zi created his works by integrating components of Chinese Painting with western structures and the surrealism concept as well as his unique treatment of light and color. It is the core value of Ji Zi’s paintings, which reveals the direction of Chinese Paintings – when pursuing the creation and epochal character, it should not restrict the inner system of Chinese culture.?

Artist Ji Zi experienced the realism movement of Chinese Painting in the 1950s, the modernism transformation of ink paintings in the 1980s and the birth of the experimental ink paintings in the 1990s. Due to his lack of the study in a professional art academy, Ji Zi could only follow his own understanding regarding the transformation of Chinese Paintings and the creation of modern landscape paintings and eventually form his own artistic route. This is also the true essence of Ji Zi’s “journey of spirit”—he explored his own position within the trend of western modernism, Chinese experimental ink paintings and the new literati paintings. He also responded to the question of “the direction of ink paintings in this new era” by proposing the notion of “the Ink Realm of Landscape Painting” and “the Absence of Form in Ink Paintings (Shui Mo Wu Xiang, 水墨无相). His art expresses a fusion of the inner life of individuals and the spirit of the universe.

“Ji Zi—The Journey of Spirit” exhibits artworks created in Shang Yuan Painter Village in Beijing (北京上苑画家村) after 2000, which are the most representative works that express Ji Zi’s concept of “Tao”. The exhibition depicts a contemporary encounter of Chinese and western art and reflects on the value of the existence of Chinese Paintings. Unfortunately, artist Ji Zi died in 2015 and ended his journey of the spirit. However, his “Ink Realm of Landscape Painting” can still be shared with the public. His art creation is always a unique case study in terms of researching ink paintings in the current situation.?

The exhibition is open to the public till the 29th August, 2019.

Text by Zhang Wenzhi

Translated by Emily Weimeng Zhou

Edited by Sue/足球开户系统 ART INFO

Photo courtesy of the organizer?

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New works by Wu Jian’an will be presented in New York-足球开户系统 http://www.sohbed.com/new-works-by-wu-jianan-will-be-presented-in-new-york.html http://www.sohbed.com/new-works-by-wu-jianan-will-be-presented-in-new-york.html#respond Fri, 09 Aug 2019 08:04:39 +0000 http://www.sohbed.com/?p=102307  

Wu Jian’an, 500 Brushstrokes #57, 2019; Ink, watercolor, paper cut and collage on Xuan paper, 120 x 200 cm

Chambers Fine Art announces the opening on September 5th of Infinite Labyrinth: New Works by Wu Jian’an. Born in Beijing in 1980, Wu Jian’an graduated from the Central Academy of Fine Arts (足球开户系统), Beijing in 2005 and is currently a professor in the School of Experimental Art at the same institution. He was one of the artists chosen to represent China in the Chinese Pavilion at the 57th Venice Biennale.

While at the Academy, Wu made an intensive study of the traditional Chinese craft of paper cut and during the next decade produced increasingly elaborate wall panels and installations that incorporated many thousands of hand cut individual units, built up in multiple layers and frequently very large in scale. Although he has continued to produce paper cuts from 2003 when he produced a series of works inspired by the SARS crisis until today, an overview of his work in the last thirteen years published by Chambers Fine Art (Wu Jian’an, Chambers Fine Art, New York and Beijing, 2018) reveals the remarkable range of his activities and the increasing complexity of his idiosyncratic iconography which depends heavily on Chinese mythology.

Wu Jian’an, 500 Brushstrokes #55, 2019; Ink, watercolor, paper cut and collage on Xuan paper, 135 x 165 cm

Perhaps the most striking departure in this period during which he achieved artistic maturity was the appearance in 2016 of a series of dynamic calligraphic abstractions under the general title 500 Brushstrokes. These were included in the 2016 exhibition Ten Thousand Things that took its title from the influential book Ten Thousand Things: Module and Mass Production in Chinese Art by Lothar Ledderose, an investigation into the use of modular and standardized production systems throughout the history of Chinese art in bronzes, porcelain, and architecture. There had been an abstract component in the 2014 exhibition Transformation in works such as Color Points and the various versions of Color Balls conceived as part of the underlying theme of spiritual transformation embodied in the figurative painting Nirvana of the White Ape although it is not an approach that he has investigated in any great depth since that period.

Wu may be said to have a consuming passion for Chinese folklore and mythology and the way in which countless generations of artists and artisans have given visual expression to this subject matter. Although he has enormous respect for the achievements of classical Chinese culture, it has had no impact on his own practice. For the first time in the 500 Brushstroke series, however, he turned to ink on Xuan paper, the medium used in classical Chinese painting and calligraphy, although he handles this revered medium in an entirely unorthodox manner. Each of the multiple brushstrokes is cut out and reassembled on another sheet of paper. “For me,” he has said, “each brushstroke is an abstract individual – it brings to light the existence of an individual in society; it can also be the cell that forms a body. The process of detaching the individual brushstrokes from the original sheet of paper embodies self-realization for the very first time. On the other hand, the result of assembling them into a collage symbolizes the inevitable fate of each individual to be part of a whole.”

The current exhibition at Chambers Fine Art in Chelsea and at ArtFarm, Salt Point consists of three groups of works, Masks, new versions of 500 Brushstrokes, and Coded Paintings. Periodically Wu has used ox-hide instead of paper as the material that he cuts and manipulates, notably in The Heaven of Nine Levels (2008). While this was characterized by the complexity of its design and iconography, the Masks consist of entire buffalo hides from which sections have been removed, subsequently painted in bright colors. Larger in scale than traditional masks, they hover between the animal and the human world.

Wu Jian’an, 500 Brushstrokes #61, 2019; Ink, watercolor, paper cut and collage on Xuan paper, 150 x 180 x cm

Even although the earliest versions of 500 Brushstrokes were remarkable for their virtuosity, the latest series of works show increasing mastery of the complex technique. From a distance they? appear to be painterly abstractions and only very close inspection reveals that they are in fact collages constructed from hundreds of cut out brushstrokes in which every detail down to the very smallest has been preserved.

Now this technique has been modified in a new series that Wu calls Coded Paintings in which he adapts the technique used in 500 Brushstrokes for an exploration of figurative/narrative painting. Inspired by the Argentine writer Jorge Luis Borges’s short story The Garden of Forking Paths, Wu’s Coded Paintings emulate the ‘invisible labyrinth’ from Borge’s book, in which time bifurcates indefinitely into infinite paths. Although the brushstrokes now form figurative images, they are expressed according to a process of “freeing all the brushstrokes from their original locations by extracting, coding and disarranging, then drawing them separately [from the context of the original image] and finally reassembling them in their original locations. This way brushstrokes are freed from their functionality.”

Wu Jian’an, Mask #1, 2018; Buffalo hide, baking, varnish, acrylic, 280 x 260 x 10 cm

The process is complicated. After drawing a figurative image on paper, Wu scans it into a computer, then disassembles each mark one by one and turns them into coded individual shapes. All the individual components are printed, with their outlines transferred to Xuan paper using a traditional ink rubbing technique. Wu repeats this step several times, so that there are multiple options created for each component. Each component is painted using watercolor and ink, the resultant brushstrokes precisely cut out from the Xuan paper, and in the final step the strokes/abstract shapes are returned to their original position according to their codes, re-forming the figurative image, sometimes with the various options stacked in layers, so that the colors and composition of each element determined at random.

This series becomes a continuation of some of the mythological elements in Wu Jian’an’s previous work, but building on the experience gained in the 500 Brushstroke series, he decided employ the new technique in his return to figurative representation. Injecting the element of chance through the process of “coding” his brushstrokes adds a new level of complexity to his substantial body of work.

About the exhibition

Dates:?September 5 – 28, 2019

Venue: Chambers Fine Art, New York

Courtesy of the artist and Chambers Fine Art, for further information please visit www.chambersfineart.com.?

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Today Art Museum announces “Future of Today: DE JA VU” opening on August 19-足球开户系统 http://www.sohbed.com/today-art-museum-announces-future-of-today-de-ja-vu-opening-on-august-19.html http://www.sohbed.com/today-art-museum-announces-future-of-today-de-ja-vu-opening-on-august-19.html#respond Fri, 09 Aug 2019 06:55:45 +0000 http://www.sohbed.com/?p=102301
Mark Weiser’s prophecy that “The most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from it”, echoes through the exhibition de ja vu: clattering data centers tower over underpopulated areas, and underwater fibre-optic cabling resurfaces on unpopulated beaches. The exhibition is itself a story about deja vu – a collective one about humans and machines. The humanoid robots that have been “switched on” in recent years (from “Sophia” to Google’s robots) echo an ancient deus ex machina, while the gentle, invisible virtual assistants – the Siris, Cortanas and Alexas who turn off lights for us – are reminiscent of the omnipresent gods and spirits that once lived alongside us. An explanation of the technoscene tends to be slightly slower than the actual technological phenomena occur, which leaves space for symbols and metaphors.
De ja vu is the name of an exhibition, of a world that might emerge; sited on the fourth floor of Today Art Museum, it can be experienced in two directions. The time-space that the exhibition creates is a terminus that shivers like a mirage between the evolving trajectory of technologies and the human race. Read clockwise, it tells a story of algorithms developing from abstract to ever more capable physical embodiments, arriving at a post-anthropocene conclusion with machines as the Earth’s sole residents. Read counter-clockwise, however, the story unfurls in reverse: it starts with a comprehensive machine contemplating its origins, and follows its archaeological process, until the machine meets its reductionist fate fading away into 1s and 0s. And so de ja vu describes a sense of deja vu between humans and machines.
In The Beginning of Infinity, David Deutsch expressed an irrefutable “computability of any process”. A non-anthropocentric view of machines seems to guide us towards a state of worshipping “computability” as the guiding rule of reality – a computational world concealed by technology and ruled by number, digits, models, processes and measurements. Yet this worldview poses a risk: to deposit our understanding of reality in the abstract and “neutral” concept of computability is, also, to voluntarily abandon the biological mind and its sensory experiences – a vain act.
The exhibition can be seen as an epitome of the fate of humans and machines, where the delicate thread between information and physical reality remains, while the coexistence of humans and machines is still playing out with absurdity and richness. If the computing structures are fading away from tangible experience, to a point where humans are no longer consciously aware of the existence of the computing infrastructure and its interfaces, then perhaps artists can allow this awareness to resurface, examining errors and prejudices in this process of “fading away”. Artists are like journalists or novelists, who make imaginary connections conduct research on what is hidden, and return us to an integrated way of understanding the world – a “deja vu” of what we were like, in the very beginning.
About the exhibition
Curator:?Iris Long
Opening: 2019.08.19
Duration: 2019.08.19 – 2019.10.24
Location: 4th Floor of Building No.1, Today Art Museum
Artists:?Anna Ridler, Christian Mio Loclair, Fabio Lattanzi Antinori, Guo Cheng, Jake Elwes, Kyle McDonald, Lauren McCarthy, Liu Xin, Oscar Sharp and Ross Goodwin, Patrick Tresset, Philipp Schmitt, Theresa Reimann-Dubbers
Courtesy of the artists and Today Art Museum, for further information please visit?www.todayartmuseum.com.
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1990-2019: Beijing Flash Biennale—The Evolution of Beijing’s Art Districts & Studios-足球开户系统 http://www.sohbed.com/1990-2019-beijing-flash-biennale-the-evolution-of-beijings-art-districts-studios.html http://www.sohbed.com/1990-2019-beijing-flash-biennale-the-evolution-of-beijings-art-districts-studios.html#respond Tue, 06 Aug 2019 02:59:54 +0000 http://www.sohbed.com/?p=102281

What does a?site mean to artists? Is it a place of life, of art creation, or the art itself?

With the development of modern society, the sites?where artist groups gather are conceptualized and they?become unique cultural symbols. Such a?site enables artists independence and freedom, while the reality of survival makes them gather and scatter. In this case, “site” becomes a significant layer in terms of touching artists and their artworks, as well as a crucial fundamental point in terms of researching the phenomenon of the gathering of artist groups.

Exhibited in 9?Art Museum, the exhibition “Beijing Flash Biennale—The Evolution of Beijing’s Art Districts & Studios”, narrates the migration route of Beijing art districts that were developed by sites and artists from the end of the 1980s till now.

The exhibition delves into some of the realities in Chinese contemporary art history, sifts through the “sites” behind the survival of artists, and therefore develops a unique research topic. The birthplaces, the exhibiting venues and the final destinations of artworks are separated by an invisible distance, which is easy to be ignored by us. The significance of sites for artworks is an unavoidable problem for contemporary art. The birthplaces and the environment of art creation turn out to be the origin of the brewing of art.

The Preparation of the Exhibition Exhibition View Exhibition View Exhibition View Curator Wang Chunchen was delivering a speech Artist Duan Yan'an was delivering a speech Hou Qijun, President of Nine Art District, was delivering a speech Artist Xiao Lu was delivering a speech Exhibition View Exhibition View Zhan Wang, 1 square meter of Land Ji Zi, Paint Spirit by Form 184x145cm He Yunchang, A Bowl of Noodles Group Photo of Honored Guests Poster

By being displayed in a positive perspective, the exhibition showcases the evolution of art districts in Beijing to the audience. On the exhibition wall, an ample amount space is used to record both existing and vanished art districts in Beijing, which allows viewers to read the starting point of Beijing art districts and to continually explore the next one beginning.

Through digging into the migration route of the Beijing art districts, many active thoughts appear to attract eager exploration. Through viewing the records of art districts from 1990 to 2019, a sizeable amount of valuable material is presented to be researched.

At the end of the 1980s,?the Old Summer Place (aka. Yuanmingyuan Park) in the western suburb of Beijing accepted a group of young people who were engaged in art. They were eager to get rid of the restriction of the system and to practice independent art creation. They have cultivated the flower of the new era art on the historical ruins of the Old Summer Place. With the formation of the concepts such as Political Pop Art and Cynical Realism, artists Fang Lijun, Yue Minjun among others were becoming famous. It turned the Old Summer Place into a national artists’ dream destination and attracted an increasing number of artists to move in.

Infancy Period

The early 1990s was the burgeoning period of the Beijing art districts, which was mainly demonstrated by the rise of Painter Village in Yuanmingyuan (圆明园画家村). Artists Fang Lijun, Hua Qing, Zhang Dali, Mou Sen, Gao Bo, Zhang Nian and Kang Mu among others, gathered there. In 1995, Painter Village in Yuanmingyuan was forced to be cleaned due to a government notice, which turned the ruins of the Qing Dynasty once again into the ruins of art. In this circumstance, artists scattered to all corners of Beijing. Using this as an ?opportunity, the evolution of Beijing art districts?officially commenced.

Development Period

During the entire 1990s, Beijing art districts gradually developed in the Binhe Unit in Tong Zhou District(通州滨河小区[原文宾河小区]) and East Village Art District(东村艺术区). Later on, Song Zhuang Art District(宋庄艺术区),?Bei Gangzi Art District(北岗子艺术区) and Shang Yuan Art District(上苑艺术区)appeared in the late 1990s.

Blowout Period

After 2000, art districts such as 798 Art District, Hua Jiadi Community(花家地群落),?Feijiacun Art District(费家村艺术区),?Caochangdi Art District (草场地艺术区), 9-Art District(酒厂-ART国际艺术区), No.1 in Five Rings Art District(五环一号艺术区)?and Suojiafen Art District(索家坟艺术区)?appeared as well.

Prosperous Period

From 2006 to 2010, it was the period of prosperity of the development of the Beijing Art Districts. Art districts such as the Left and Right Art District, No.1 International Art District, Huan Tie International Art District, Bei Gao Art District among others appeared in succession.

Dispersion and Migration Period

It was between 2010 to 2017 that the development of Beijing art district entered the period of dispersion and migration. Sun He Art District(孙河艺术区), Bei Tang Art District(北塘艺术区)?and Yong He Art District(雍和艺术区)?etc. appeared during this period.

Star-shaped Distribution

From 2017 till now, the distribution of art districts in Beijing has transformed to be star-shaped. Art districts such as Bai Ma Art District(白马艺术区), Shun Yi T3 Art District(顺义T3艺术区)etc., appeared in succession.

The evolution history of Beijing art districts from the 1990s to nowadays has spanned various periods and experienced multi-dimensional spatial differences. However, the transformation of time and space is only representative. The rise and fall of art districts created a game between different powers outside art.

With the requirements of the process of urbanization in Beijing, the demolition of several art districts has forced artists to migrate. The migration, although with complex pain, proves the resilience of artists. The value of early art districts lies in providing motivations of art creation to artists. However, art districts in this era, such as 798 Art District, have developed their art values utilizing systematical art management. The success of 798 Art District has gradually developed a commercial method or mode to fit into art districts. By doing so, art districts are becoming increasingly formal and commercial, and the value of the artist cluster is gradually expanded.

There is another exhibition space apart from the migration route of the Beijing art district that echoes the theme of this exhibition. By displaying artworks from artists living in various art districts, the relationship between an artwork’s origin and termination is unconsciously considered by viewers. The works in this space make up for and compensate for the missing content in the first section, and inspire audiences to reflect on the influences of different artworks.

It is an exhibition based on long-term research. The evolution of the Beijing art districts?has become a vital footprint for the development of Chinese contemporary art and gradually showcases the significance of the current situation. The exhibition turns the direction of the research regarding Chinese contemporary art to a new field, namely, the relationship between the sites that artists are living and the production and development of art. Although not being presented directly in the exhibition, it is implied in the content of the exhibition that it should be a result based on great efforts in research.

The exhibition narrates the history and today’s reality, proving that the present existence is constantly moving forward based on the memory of the past.

Text by Lin Lu

Translated by Emily Weimeng Zhou

Edited by Sue/足球开户系统 ART INFO

Photo courtesy of the organizer

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Stay Where You Are—Gao Yun Solo Exhibition Retrospecting 40 years of His Art Career-足球开户系统 http://www.sohbed.com/stay-where-you-are-gao-yun-solo-exhibition-retrospecting-40-years-of-his-art-career.html http://www.sohbed.com/stay-where-you-are-gao-yun-solo-exhibition-retrospecting-40-years-of-his-art-career.html#respond Sun, 04 Aug 2019 14:39:20 +0000 http://www.sohbed.com/?p=102249 Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition

As the first large-scale solo exhibition of Gao Yun’s works in China, ?Stay Where You AreGao Yun Solo Exhibition?presents more than 60 items or series of high-quality works created from 1979 to 2019. It is by far the most comprehensive display of Gao Yun’s creations. The exhibition was jointly organised by Jiangsu Art Museum and Deji Art Museum and will be on display at Deji Art Museum from 26 July to 31 October 2019.

The exhibits include treasured collections from key national cultural institutions such as the National Museum of China and National Art Museum of China, as well as classics that have been written into the history of Chinese art and become exemplary works. There are also recent works that the public will see for the first time in this exhibition. 40 years of artistic accumulation is presented to the viewers in six sections encompassing picture storybooks, stamps, and Chinese paintings through a panoramic display.?The exhibition endeavours to shed light on the artist’s thinking, pursuits, aesthetic experience, and artistic trajectory.

Gao Yun graduated from Nanjing University of the Arts in 1982, majored in Chinese painting. He has been awarded Gold, Silver and Bronze prizes at National Art Exhibitions, the Best Stamp Award in the National Stamp Awards, the highest awards at the National Picture Storybooks Awards and the Jiangsu Province Zijin Culture Medal. His comic book Luo Lun Takes the Imperial Exam?was respected as “one of the masterpieces of comic books in line drawing in the 20th?century”, his Broken Soul at Mawei?(Collaborated with He Jiaying), and Yongle Encyclopedia?(he collaborated with An Yumin, Li Qiang, Zhan Yong, Inscription by Guan Jun) and was included in the collection of the National Museum of China. Currently he holds the posts of Vice President of the National Chinese Painting Institute, Administrative Committee Member of China National Academy of Painting and Vice President of China Academy of Painting, Deputy Director of China Artists Association Chinese Painting Art Committee, Researcher in Chinese Painting at Chinese National Academy of Arts, President of the Chinese Painting Society of Jiangsu Province, Honorary Director of the Jiangsu Art Museum, Adjunct Professor at Nanjing University.

Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Exhibition View of Stay Where You Are—Gao Yun Solo Exhibition Gao Yun, Luo Lun to Take the Imperial Exam Ink and colour on paper 13.2cm×19.3cm 1983 Gao Yun, Commemorating the 400th Anniversary of XuXiake's Birth (3pieces) 1988 Gao Yun, Song Lyrics (6 pieces) 2012 Gao Yun, The Palace of Eternal Life Ink and colour on paper 15cm×23cm 1985 Gao Yun, Broken Soul at Mawei (Collaborated with He Jiaying)Ink and colour on paper 165cm x 195cm 1989 Gao Yun, I — Us Ink and colour on paper 172cm×93cm Gao Yun, Dream· Dream· Fish's Happiness Ink and colour on paper 172cm x 93cm 2019 Gao Yun, In Dialogue with Ingres II Ink and colour on paper 107cm x 80cm 2018 Gao Yun, Remember us?— Commemorating the 70th Anniversary of New Fourth Army Ink and colour on paper 195cm x115cm 2007 Gao Yun, Such is the Beauty of Our Land Ink and colour on paper 270cm x 370cm 2017 Gao Yun, Gu Xiancheng, the Jiangnan Scholar Ink and colour on paper 142cm x 31.5cm 2008 Gao Yun, Rock Worshipping Ink and colour on paper 138cm x 34cm 2008 Gao Yun, Splendid Jiangsu Ink and colour on paper 125cm x 250cm 2012 Gao Yun, Yongle Encyclopedia (Collaborated with An Yumin,Li Qiang,Zhan Yong,Inscription by Guan Jun)274.5cm x 440.5cm 2016 Gao Yun, Into Xinjiang Ink and colour on paper 60cm x 60cm x 9 2010 Gao Yun, Listening to the Strings in a Mountain Ink and colour on paper 34cm x138cm 2013 Gao Yun, Urban Stroller – Mountain Cyclists Ink and colour on paper 130cm x 200cm 2015 Gao Yun, Urban Stroller VIII Ink and colour on paper 136cm x 68cm 2015

I. Cultural Genes of Comic Strips and Stamps

The first section of the exhibition features five sets of his representative comic strips and it recreates a studio setting which highlights the artist’s working status behind the creations. Taking The Palace of Eternal Life ?as an example, the wall was covered by layers of research drafts and historical catalogues from which we could find that Gao Yun has been endowed with the professional attitude of a scholar and a realistic quality in his practice.

Some important stamps designed by Gao Yun are highlighted in the second section, such as Commemorating the 400th Anniversary of Xu Xiakes Birth (3pieces), which won the Best Stamp Award in the National Stamp Awards in 1987, Butterfly Lovers?(5 pieces) which was awarded the Best Innovation Design of the 10th Government Postage Stamp Printers’ Association Conference (Poland). Sheng Roles in Peking Opera (6 pieces), which was awarded the Best Gravure Award in the 12th Government Postage Stamp Printers Conference (Algiers).

Comic strips and stamps are both categories of art that people can relate to, while blending spiritual pursuits of the public and retaining the traditional cultural genes. Based on his unique perspective and aesthetic style, Gao Yun has cultivated and combined the literati spirit, historical context and feelings on folklore with art, thus his creations are characterized by rich techniques and a unique artistic charm.

II. The Reflections of His Figure Paintings on the Ideal Beauty of the Epoch

The third section features 19 works on female themes, including Broken Soul at Mawei?(Collaborated with He Jiaying) which was awarded Silver Prize and the Best New Artist in the 7th National Art Exhibition, Remember us?Commemorating the 70th Anniversary of New Fourth Army,?In Dialogue with Ingres series, Dream series?and so on. What Gao Yun has depicted are not just the “female portraits”, as he tries to convey his pursuit in “truth, goodness and beauty” through his carefully constructed combination of figures, images and scenes. Thus figures for him become a carrier, and his works constitute his way to communicate with audiences. Although there is a limit in size and scale, his ideal and significance are profound and boundless.

As Gao Yun’s good friend He Jiaying, who collaborated with him to create Broken Soul at Mawei,?described in his article, “if closely observing Gao Yun’s female-themed works, it is not difficult to find that they contain ideal colors that transcend reality, which is also the source of the aesthetic thoughts in Gao Yun’s works. Therefore, his figures are fresh and alive, the vitality of traditional techniques is also highlighted. He does not inherit traditions from imitation but he compares them with the contemporary perspective and mood to reflect the present, that’s why audiences feel empathy with his works and his works remain attractive.

The fourth section also relies on the theme of literati to express feelings. Most of the works in this section have combined figures with landscapes such as Rock Worshipping, Gu Xiancheng, the Jiangnan Scholar?and so on. The protagonists and landscapes complement each other. From the ancient literati sentiments to mountains and rivers, Gao Yun intends to introspect in this spiritual yearning and persistent inquiry.

III. Self-observation in Mirror and Expression of Mind in Paintings

Gao Yun’s landscape paintings have distinct images and long-lasting charm, his works such as Such is the Beauty of Our Land collected by Jiangsu Centre for the Performing Arts, and Splendid Jiangsu collected by the Nanjing Lukou International Airport reflect his observation and conception of Nature, the lofty pursuit constructed on realistic scenery are the monologues of Gao Yun. Undoubtedly, it is also a reflection and escape from modern life, urban hustle and complicated society.

His recent works are presented in the last section of the exhibition, including 11 works that belong to two series of Urban Stroller and?Sketch in Xinjiang. Through the observation and depiction of the public, Gao Yun tells the lives and stories of modern citizens through his subjective language. He projects the reality into the state of mind. In either a realistic or illusory atmosphere, audiences do not just watch, but they also enjoy the strength of setting the scene for their self-observation, self-interpretation and self-appreciation.

Chen Hengke once said, “The literati painting has four elements: character, learning, talent and thought. With these four, it can be perfected.” Whether it is a literati landscape or another subject matter, Gao Yun painstakingly explores and earnestly studies art. In these four aspects, efforts have been made to improve his art skills, to repeatedly observe and think about the ego producing ideal feelings that are placed in the picture. Gao Yun wanders in the real world every day and the ideal art world, and he rebuilds bridges between history and tradition, modernity and the current context. He goes deep into life through art, understands the epoch, and pursues the truth. Everyone has his own “esoteric doctrine” as well as a different “free” realm, the words left on the final wall of the exhibition hall, the true feelings of emotion may bring some hints: “Life is like a mirror, it reflects the truth when it is given truth while it reflects illusion when it is provided with ?illusory concepts. It tells true and false, and gains and loses. It is from the heart that it can express the true self, and can live with the existence of the self in a free state.”

Text by Zhang Yizhi, edited and translated by Sue/足球开户系统 ART INFO

Photo Courtesy of the artist and organizers


Preface

Gao Yun: Musing over History and Recalling Epochs

By Fan Di’an (Chairman of China Artists Association, President of Central Academy of Fine Arts, Doctoral supervisor)

As a fellow of the art world, I feel deeply delighted that Gao Yun’s representative works are brought together in an exhibition at the time of the celebration of the 70th anniversary of the founding of New China. Although he has published a number of art books before, and his works have frequently participated in exhibitions throughout the past decades, his artistic approach is much clearer when the works are anthologised in a panoramic display. The exhibition provides a precious chance for fellow artists to exchange ideas and a comprehensive presentation of the works to the public.

Gao Yun is an artist who grew up and became maturity in the great era of Reform and Opening-up. The tremendous historical changes and developments in Chinese society provided rare opportunities for the artist to release his talent and also challenged him on the cultural and academic level. The merits of Gao Yun laid in how he cherished the opportunities, strived to closely follow the changes of ideological trends, and consciously synchronised with the epochal pulse. For decades, he has always adhered to a firm cultural ideal, always upholding the passion for an artistic practice that looked to the epoch’s forward strides. The era moves and inspires him. He is also determined to eulogize the era with continuous artistic exploration. In his works, whether they have historical or realistic themes, large-scale masterpiece or small and exquisite compositions, they always show a clear sense of the era in terms of themes, conception, mood and formal construction. His works are filled with an aura of broad-mindedness and clarity. His style is fresh and lucid, reflecting the flourishing atmosphere and the high spirits of the times.

Reform and Opening-up has brought about a historical change to the context of Chinese arts and culture. For an artist, this change put forward a test on the macroscopic understanding of the culture. It propelled artists to seek development in the process of change, to effectively address the relationship between inheritance and cultural innovation, to examine history from the perspective of art theory, and to seek the right coordinates for his art practice in the face of contemporary society. A sober cultural consciousness continuously runs through Gao Yun’s artistic development. This is highlighted in his practice; think before paint, thoughts lead to the acts. His art not only created individuality early on, but also shows a firm creed. It is this steady and sustained spiritual pursuit that gives his art a stable quality. For a Chinese painter, changes in the times suggest new issues at a concrete level of the practice. The new collision and exchange between Chinese and foreign cultures, the impact and influence of international art trends on Chinese art, especially on Chinese painting, as well as the challenges presented by global information on the

aesthetic style of art images, are all unavoidable cultural contexts and actual circumstances necessarily encountered by Chinese painters. Gao Yun also did not escape these challenges in Chinese painting, nor has he attempted to evade them. He has always been full of confidence in the contemporary development of Chinese art, and constantly strives to innovate. He focuses especially in overcoming problems of artistic conception and that of the ink-and-brush language; learning from the traditional culture, he has formulated a constitutive framework for his own research. In-depth investigation of daily life and perceptions of reality are an original source for his motivations, propelling him to make each creation process a research process that endeavours to solve problems. In the conception and expression of every piece or group of works, he seeks breakthroughs and pushes boundaries in the realm of artistic expressions, and builds a prolific art world.

The opportunities bestowed by the epoch to different artists give different returns. Gao Yun’s outstanding achievements in Chinese painting are not only reflected in the profundity of his thoughts and the exquisiteness of his art works, but also in his rich life experience. He is an artist with multiple ‘identities’. He has worked in many fields including art editorial and publishing and museum management and cultural administration. His experience encompassing multiple official posts has provided him with a broader cultural vision and an incomparable aptitude of understanding. In his case, administrative work and creative research can complement and facilitate one another, formulating a unique artistic approach. His talent lies in the ability to bring together a variety of experience and transform them by virtue of a creative energy. He can mobilize and utilize his work experience, converting forces felt outside of the art practice into painting, so that the works reflect a broad realm of reflection and profuse involution. Such is the distinctive characteristic of Gao Yun’s art.

To be more specific, Gao Yun’s art has three prominent features.

First, he is good at expressing historical themes with a contemporary perspective, thus assigning new meanings to the history. Over the years, he has concentrated on creating works of major historical themes, and investigated the involution of traditional culture. For paintings of historical subjects, they have long been required to ‘offer edification and record the vicissitudes in history, so that what happened in the vast span of thousands of years can be presented in visual form’ (from Guhua Pinlu, by Xie He). To be able to express the spirit of the new era, strengthen national self-confidence and boost the national spirit, paintings of historical themes form an important path in fostering a culture of harmony and cultivating civilized practices.

We can clearly notice Gao Yun’s research of this subject in his art career. In his works such as Broken Soul at Mawei, The Making of the Great Canon of the Yongle Reign, and Remember Us?, it can be seen that he strives for a grand and unequivocal expression and attempts to effectively combine characters, plots and scenes in a way that expresses a specific historical significance. They are laid out as masterpieces with both a historical density and a unique art style which does not literally translate to a historical narrative. To create a painting of a historical subject not only requires a comprehensive grasp of large-scale scenes, but also a rigorous textual research of the history. To create a historical scene with authenticity, artists need to have the capability to delve into historical facts, study the social backgrounds and cultural situations of the time, and collect historical data, documents, pictures, anecdotes, etc. With continuous consideration and careful deliberation, Gao Yun is able to create works of historical subjects that integrate historicity, creativity and aesthetics, and compose epics that praise the spirituality of the national history.

Secondly, he is a master in grasping artistic composition with the spirit of ‘rise and fall’; unfolding plots with images and shaping images with plots. From large-scale paintings of historical subjects to those with classical figures, from picture storybooks to stamps, from meticulous gongbi?characters to gongbi-and-xieyi?scholars, Gao Yun dabbles in a rich variety of subject matter and genres, which shows that he is able to comprehend new things by analogy, and he is passionate about diving into art creation. Similar to the richness of his work experience, he is also a versatile artist. But with it comes a basic as well as a protruding puzzle, that is, how to bring out the new in every piece of work within a painting system grounded in concrete forms, in other words, how to formulate a pictorial style that contains both traditional implications and contemporary understanding. In view of Gao Yun’s oeuvre, we can clearly see the consciousness and rationality of his art practice.His research focuses on the composition and layout of the scenes, arrangement of figures, lines and colours, as well as an integral lyricism. He has always been concerned with an insightful and innovative exploration of content and form, presenting an organic rhythm through a vivid constructive consciousness of modern art. Shen Zongqian once said: ‘grounds of the heaven and the land lie in the opening-closing (rise-and-fall)’. The opening-closing of paintings is similar to the blocking of stage, or the rise-and-fall of writing. Gao Yun has a flair for manoeuvring formal combinations of large masses, deftly handling the visual relationship between the major and the minor, scenes and objects, complexity and simplicity, and sparseness and denseness. With a balance of loosening and tightening, his ideas bloom at the tip of brush. Complex plots and arrangements of figures naturally emerge at the turning point of the opening-closing, blending into a wonderland. For instance, in The Making of the Great Canon of the Yongle Reign, the figures in the background painted in baimiao (‘monochrome- outline’) complement the central figures in heavy colours. Thus, not only the procedure and the complexity of making the Great Canon are represented, but also the awe-inspiring occasion of the emperor’s inspection under the spotlight. Many of the stamps he designed also pursue a grand and timeless expression, making these small pieces extremely lively with vivid subjects. He is a genius in arranging the relationship between figures, objects, scenes and space. He tries to present the panorama of history and culture through a great diversity of forms, constructing images that closely connect with the historical, social and cultural environments. In this respect, his work experience in organizing and guiding stage art has played a unique role. A painting is like a stage. He is like a theatre director, arranging actors and scenes, plots and images. He guides the actors to become absorbed in acting in the ‘play’. He constructs the scenes to express the ‘play’, and invites the audience to enjoy the ‘play’. Gao Yun has devoted his life to a stage by and in painting, walking among the ‘figures’, ‘scenes’ and ‘minds’. By projecting his own understandings of various subjects into the practice of painting, Gao Yun has significantly developed and enriched the expressive power of contemporary Chinese painting.

Thirdly, he has researched and developed the expressive capacity of lines in Chinese painting. By shaping forms, the lines communicate an epochal aesthetics. Gao Yun has been enraptured by painting since he was a teenager. Later he participated in the provincial creative art class and entered the public’s view. He was then admitted by Nanjing University of the Arts and was taught by great masters of art including Liu Haisu, Chen Dayu, and Zhang Wenjun. During his study at NUA, he gained a good command of sketching and generating expressive power through lines in Chinese painting. His handling of the lines can be compared with the poise and ease of seal and running scripts, the zigzag of withered vines or silk threads, cadences and transitions, charms and appeal. Whether they are flowing brushstrokes in a xieyi?style, or meticulous gongbi lines, the shapes, layouts, up-and- downs and movements of lines are all exquisitely expressive. Decades of practice have trained the sensibility of his lines. He accurately shapes images with careful and precise lines, infusing emotions in the running of them, so that they become threads spun out of his mind. At the same time, his lines are closely related to colouring and smearing. He seeks an elegance of the overall tone, and pays particular attention to the quality of colours and the liveliness of rendering. By complementing the lines with the tone and the texture of smearing, the painting achieves an organic integration of line and colour, form and meaning. The beauty of lines emerging out of all these features has become an essential contribution by Gao Yun. In recent years, he also used portraits of classical western oil painting as a blueprint, transforming them by re-presenting them by Chinese painting, converting the system of light and shadow to the lines. It shows his concentration and fascination with the structuring and shaping potential of lines, and reflects his cultural confidence in the language of lines in Chinese painting.

Gao Yun’s artistic journey has built itself on tradition and was proceeded
by a rendering and creating anchored on subjective consciousness. Reflections on the transformation of the contemporary significance of Chinese paintings are represented through a fluent ink-and-brush language. These reflections and transformations are to be found in the visual construction of a double language overlay of traditional aesthetic values and contemporary art forms, activating an open space for a new path of artistic exploration. The achievement of ink-and-brush will be accomplished by a language using the picture plane that is realistic, lyrical, and significant. A language of ink-and-brush that transmits the warmth of its epoch is formed in between historical narratives and images of people. One can imagine how Gao Yun, contemplating in front of stretched paper, looks out to the valleys and peaks of history, the fumes and clouds covering and revealing. He can’t help but be deeply moved and touched by the dim but gleaming nuance of history. Over the years, he sees light flowing like water, and becomes imbued with an orchid-like temperament. His artistic creations always begin with the ‘actuality’, from which he finds the materials needed while saving the cumbersome problems of the humdrum. Though borne out of the ‘actual’, his art creation arrives at a sublime expressive stage of inner experience. They are Gao Yun’s visual projections of social environments and historical culture, as well as a free exploration of the private artistic mind. Among a group portrait made up of copious and beautiful figure paintings set against a simplistic elegant space, the emotions and feelings are intertwined within.

Today, the broad context of the new era has brought opulent conditions and space for development to the field of Chinese painting. To meet with the challenge and to strive for the future development of it, the practice of Chinese painting needs to be transformed and re-created with a strong foothold in the traditional culture on the one hand, and on the other, with valid investigation and exploration that synchronizes with the epochal pulse. Gao Yun has accomplished his own artistic quest and arrived at a commensurate spiritual realm. The unraveling of his future practice will ascend to a soaring peak.

May 2019 in Beijing

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Boers-Li Gallery presents Ji Zhou’s solo exhibition “Fiction”?-足球开户系统 http://www.sohbed.com/boers-li-gallery-presents-ji-zhous-solo-exhibition-fiction.html http://www.sohbed.com/boers-li-gallery-presents-ji-zhous-solo-exhibition-fiction.html#respond Sat, 03 Aug 2019 04:02:20 +0000 http://www.sohbed.com/?p=102243

Compelled by a personal sentiment towards a world that is becoming increasingly fragmented, segmented and dissonant, particularly as a result of constantly renewing technologies, Ji Zhou adopts the medium of photography to convey his mediations between reality and illusion, nature and artificiality, as well as the mutual impacts from these dichotomies.?The exhibition showcases the artist’s most recent series of photographs and light box installations.

Through his observations, the artist noted that the impetus of capturing a scene or an object with a camera often comes from the appeal of a specific detail within a larger context. However, the photograph taken would encompass myriads of details to constitute the entire image. The variations in the perception of these details hence alter the understanding of the whole. To translate these notions into his practice, Ji Zhou addressed two of the most fundamental variables, temporality and spatiality, and both are represented through the three series of works on view in this exhibition.

For Park (2019) and Greenhouse (2017-2019), Ji Zhou takes pictures of a place, ranging from public parks to greenhouses, at different times and alternative angles. Then, he disassembles these images into fragments and recombines them into a collage to show the integration of time and space. Ji Zhou intentionally chooses locations such as greenhouse and public parks for their ambiguity in artificiality and nature. His interpretation of these composite sites through the approach of collage further enhances the fragmentations of reality. Although Fiction (2019), adopts a similar approach, the artist demands the viewer to engage optical tactic in perceiving the relationship between the image in the light box that the image would only be seen at a specific angle, to its backdrop.

Previously, his photo series Maps (2013-2017) has already given us clues for shifting towards exploring the dichotomous relationships between the real and the fictional, nature and artificiality. By constructing these hollow sculptural forms of natural landscapes, and covering them with maps (a translated perception of nature), and then captures them on photographs, Ji Zhou asks the viewer to re-examine our perception of these seemingly opposing notions through these layers of mediation. Furthermore, his earlier practice includes Dust series that explores the perceived image of hand-assembled objects, rendered in monotonous grey as a mean to focus on the shape and form of these sculptures; Civilized Landscape, where he explores illusory landscapes created by mankind: using maps and books, he sculpts mountains and skyscrapers in carefully placed installations before photographing the compositions. Through these illustrations of the world, Ji Zhou constructs an understanding of the world around us.

Born in 1970 in Beijing and currently lives and works in Beijing, China. Ji Zhou graduated from the printmaking department at the Central Academy of Fine Arts, Beijing in 1994, and later received an MFA from the Panthéon-Sorbonne University, Paris in 2005. His work has been exhibited around the world, including solo exhibitions Quand La Sculpture Devient Créature, Musee du Papier, Angouleme, France (2017); Form, Space Kaan, Seoul, South Korea (2017); Civilized Landscape, Klein Sun Gallery, New York, NY (2015), Objectified Spectacle, Tang Contemporary Art, Beijing, China (2013); Ashes of Time, Tang Contemporary Art Center, Beijing, China (2011) and In Situ, Ullens Center for Contemporary Art, Beijing, China (2008). His recent group exhibitions include, Troubled Intentions Ahead: Confusing Public and Private, The 3rd Beijing Photo Biennial, 足球开户系统 Art Museum, Beijing, China;Simultaneous Eidos: Guangzhou Image Triennial, Guangzhou Art Museum, Guangzhou (2017); Imaginary Frontiers, Boghossian Foundation at Villa Empain, Brussels, Belgium (2017); Children of Hangzhou: Connecting with China, Young At Art Museum, Davie, FL (2016); Photography and Film Constructs, Ringling College of Art and Design, Sarasota, FL (2016); WALK! Passages: Walking in Contemporary Art, Perlman Teaching Museum, Carleton College, Northfield, MN (2016); Another Landscape, Yang Art Museum, Beijing, China (2016); Real/Unreal, The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China (2015); The Persistence of Images, Redtory Art and Culture Organization, Guangzhou, China (2015); The 2nd Three Shadows Experimental Image Open Exhibition, Three Shadows Photography Art Centre, Beijing, China (2015); Retrospection & Deviation, Times Art Museum Beijing, Beijing, China (2011); Rendez-vous 09, Institut d’Art Contemporain, Villeurbanne, France (2009); and55 Days in Valencia, Chinese Art Meeting, Institut Valencia d’Art Modern, Valencia, Spain (2008).

About the exhibition

Dates: 03 Aug. – 01 Sep., 2019

Venue: Boers-Li Gallery

Address: D-06, 798 Art Zone, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China

Courtesy of the artist and Boers-Li Gallery, for further information please visit?www.boersligallery.com.?

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BANK presents Lin Ke’s “Sky Paintings” in Shanghai-足球开户系统 http://www.sohbed.com/bank-presents-lin-kes-sky-paintings-in-shanghai.html http://www.sohbed.com/bank-presents-lin-kes-sky-paintings-in-shanghai.html#respond Fri, 02 Aug 2019 02:33:47 +0000 http://www.sohbed.com/?p=102237

BANK is delighted to announce Lin Ke’s second solo show with the gallery, Sky Paintings. This show presents the artist’s continued fascination with the ever blurring boundaries between the digitally manufactured, virtual spaces of our computer age and traditional reality. In Sky Paintings Lin posits a series of seemingly conventional watercolor works, digital images and video works as vehicles for exploring this tenuous terrain.

Over the past few years, the artist has returned to his artistic roots by painting a watercolor each night before going to sleep. Referencing real life, as well as computer and magazine images, Lin amassed a large collection of works that depict various religious figures, friends and pop cultural celebrities. In search of the essence or pictorial significance behind these hand-painted images Lin then began a process of deduction and analysis by scanning the images and breaking them into layered elements, almost like a forensic detective. In Sky Painting he re-presents the digitized remains of these watercolors as reconstituted prints on various surfaces. Through the long journey of analysis, conversion, and re-production Lin Ke’s practice questions the import and essence of artistic medium, image making, as well as the impulse to exhibit art. The artist writes:

“From Void to Solid (Watercolor) to Virtual (photoshop Painting) to TIF and then to object in the space—the context of the exhibition of the work. There is even an image behind the meta-image, which is what I look at when I paint watercolors. I see some fuzzy, stimulating images of a head, and then I draw a watercolor portrait of such an image, like copying in the void. I am inspired by the Tibetan Buddhism Fuzang. A line of texts would appear in the sky, and Fuzang would see it and write it down.”

Inspired by the mystics of Tibetan Buddhism who gazed at the sky for divinatory revelations Lin Ke equates the sky with the image as a muse for introspection—a mirror onto himself and his surroundings.

In a space where physicality no longer exists, resemblance and authenticity ultimately lose their substance. So in the remains of the images presented in the exhibition Lin creates a visual language imbued with the celestial inhabitants of the sky, an immaterial universe, a formless sky world. Conversely, the void of the sky like that of the image unveils truths about the earth, inspiring the artist to examine the immaterial substances that permeate our every day spaces, from electromagnetic fields to rays of light.

Since 2010, Lin Ke has turned his attention to the behavioral science of the computer age by making himself his own Guinea pig. Converting his laptop into a studio, Lin extracts material from computer software and the Internet as the fodder and form of his art. The mundane act of exploring the vicissitudes of the world wide web and various applications becomes the catalyst for art making and self-portraiture. He records operational behavior and conceptual images by using screenshots and screen recording software. His work takes the form of installation, image, sound, text, video and computer painting.

Lin Ke has gained major critical acclaim for his work having won the OCAT—Pierre Huber Art Prize in 2014, and the Chinese Youth Artist Award of the 9th AAC Art 2015. His work was shortlisted for the BMW Art Journey at Art Basel Hong Kong 2017 and has been shown at ZKM, Karlsruhe; Museum Folkwang, Essen; Museum of Contemporary Art Tokyo; Minsheng Art Museum, Shanghai;The Front Triennial, MoCA Cleveland;OCAT, Shanghai, Shanghai Biennial, Ikon Gallery, Birmingham, among other prestigious venues. His work is in the collection of M+ Museum, HK; New World Foundation, Beijing; K11 Art Foundation, among others.

About the exhibition

Dates:?Aug 10, 2019 – Sep 10, 2019

Opening: Aug 10, 16:00

Venue: BANK

Address:?Building 2, Lane 298 Anfu Road, Xuhui District, Shanghai, China

Courtesy of the artist and BANK.?

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Vanguard Gallery announces “Muntadas: Look See Perceive” opening on August 23-足球开户系统 http://www.sohbed.com/vanguard-gallery-announces-muntadas-look-see-perceive-opening-on-august-23.html http://www.sohbed.com/vanguard-gallery-announces-muntadas-look-see-perceive-opening-on-august-23.html#respond Fri, 02 Aug 2019 01:56:43 +0000 http://www.sohbed.com/?p=102232

In August Vanguard Gallery is pleased to present Muntadas: Look See Perceive, a selection of eight works by the Spanish artist Antoni Muntadas. This exhibition examines several perspectives of thinking and artistic proposals as significant examples of different projects and work issues developed by the artist through his career. It will be the artist’s first exhibition in the gallery.

Muntadas was born in Barcelona in 1942 and has lived in New York since 1971. Through his works he addresses social, political and communication issues such as the relationship between public and private space within social frameworks, and investigates channels of information and the ways they may be used to censor or promulgate ideas. His projects are presented in different media including photography, video, publications, the Internet, installations and urban interventions.

One of the most noteworthy aspects of Muntadas’ artistic practice is his prioritization of the project over the medium or artistic support. His projects are born of his curiosity and concerns. So, as a multidisciplinary artist, is the process itself that finally define the way in which each work will be presented. It is a project-based art, in which he focuses and encourage the public to reach the critical and reflective contents that underlies on his projects.

The works selected for this exhibit are taken from some of Muntadas’ more emblematic projects —On Translation: Warning,?The Construction of Fear, or Asian Protocols— as well as some video installations that attest to his valuable contribution in the medium of video. Every project works as a new pattern of something that didn’t exist before, but dealing with the current socio-political developments by stimulating the critical thinking of the public. In fact the exhibition title points to this deliberately. Look See Perceive (2009), the work that gives name to the show, is an installation that connects with Muntadas’ permanent intention on activating the sensorial skills of the viewer, in order to transform spectator into an active subject in the exhibition space. All the installations, videos, objects and prints showed in this exhibition are art works that, in a challenging way, encourage to the audiences to reflect, think and discuss about the social, political and cultural constructions of the current world.

The exhibition in opening on August 23rd, and will last until October 20th.

About the Artist

Antoni Muntadas (born in 1942 in Barcelona, Spain) lives in New York City and develops art projects around the world. His projects have been exhibited in prestigious museums such us The Museum of Modern Art in New York, the Berkeley Art Museum in California, the Musée Contemporain de Montreal, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museo de Arte Moderno in Buenos Aires, the Museu de Arte Moderna in Rio de Janeiro, MACBA, the Museu d?Art Contemporani de Barcelona, OCAT Shanghai or Three Shadows Photography Art Center in Beijing.

He has been selected to participate in international events such as Documenta Kassel (1977, 1997), the Whitney Biennial of American Art (1991), the 51st Venice Biennial (2005) and other international biennales in S?o Paulo, Lyon, Taipei, Gwangju and Havana. He has been the recipient of several international prizes and grants, including those of the John Simon Guggenheim Memorial Foundation, the Rockefeller Foundation, the National Endowment for the Arts, the New York State Council on the Arts, Arts Electronica in Linz, Laser d?Or inLocarno, the Premi Nacional d?Arts Plàstiques awarded by the Catalan Government, the Premio Nacional de Artes Plásticas 2005 and Premio Velázquez de las Artes Plásticas 2009 granted by the Spanish Ministry of Culture.

His works has been collected by important museums but also by public and private collections such as Centre Pompidou (Paris), Colección “la Caixa” (Barcelona), DZ Bank AG (Frankfurt), Funda??o de Serralves (Porto, Portugal), Fundación Botín (Santander, Spain), Kunsthalle Bremen, Solomon R. Guggenheim Museum (New York), or Tate Modern (London), among others.

He has been a Professor at MIT in Cambridge, Massachusetts for more than 30 years, and has taught and directed seminars at diverse institutions throughout Europe, the United States, Latin America and China. He has been welcomed as a resident artist and consulting advisor by various prestigious research and education centres around the world, and is currently a Professor at the Instituto Universitario di Architettura del Veneto (IUAV) in Venice.

About the exhibition

Dates:?Aug 23, 2019 – Oct 20, 2019

Opening:?Aug 23, 2019, 19:00, Friday

Venue:?Vanguard Gallery

Courtesy of the artist and?Vanguard Gallery, for further information please visit?www.vanguardgallery.com.?

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Dialogue with Leandro Erlich: Expect the Unexpected-足球开户系统 http://www.sohbed.com/dialogue-with-leandro-erlich-expect-the-unexpected.html http://www.sohbed.com/dialogue-with-leandro-erlich-expect-the-unexpected.html#respond Wed, 31 Jul 2019 00:22:49 +0000 http://www.sohbed.com/?p=102209

On 10th?July 2019, the exhibition “Leandro Erlich: The Confines of the Great Void” commenced in 足球开户系统 Art Museum, which features Argentinian artist Leandro Erlich’s 20 large-scale interactive installations created during the last 25 years. This exhibition, known as the largest solo exhibition ever in Leandro’s art career, showcases many works that are revealed to the Chinese public for the first time.

Following the opening ceremony, on 11th July 2019, “Dialogue: Expect the Unexpected” as the first event of the series of academic activities for this exhibition, was held in the auditorium room of 足球开户系统 Art Museum.?Andrés Duprat,?Exhibition Curator and Director of Argentina National Museum of Fine Arts (aka. The?Museo Nacional de Bellas Artes), Qiu Zhijie, Dean of the School of Experimental Art at 足球开户系统, Wang Min’an, Professor of the School of Humanities at Tsinghua University, Zhang Zikang, Exhibition Curator and Director of 足球开户系统 Art Museum, Zhou Yufang, Vice Dean of the School of Architecture at 足球开户系统, participated the event. The dialogue was hosted by Wang Chunchen, Vice Director of the 足球开户系统 Art Museum.

View of Dialogue View of Dialogue Wang Chunchen, Vice Director of the 足球开户系统 Art Museum, hosted the event Andre?s Duprat, Exhibition Curator and Director of Argentina National Museum of Fine Arts was giving a speech Artist Leandro Erlich was giving a speech Qiu Zhijie, Dean of the School of Experimental Art at 足球开户系统, was giving a speech Wang Min’an, Professor of the School of Humanities at Tsinghua University, was giving a speech Zhou Yufang, Vice Dean of the School of Architecture at 足球开户系统, was giving a speech Zhang Zikang, Exhibition Curator and Director of 足球开户系统 Art Museum, was giving a speech Andre?s Duprat, Exhibition Curator and Director of Argentina National Museum of Fine Arts at the dialogue session Artist Leandro Erlich at the dialogue session View of the Q&A session View of the Q&A session View of Dialogue Group Photo of Honored Guests

As?a member involved in the exhibition preparation, Wang Chunchen introduced the exhibition briefly. He pointed out that the exhibition “The Confines of the Great Void” is different from the other?exhibitions in art museums in the conventional sense. Specifically, the traditional exhibitions in art museums usually keep a distance from the audience. However, using “interactivity” as the method, this exhibition eliminates the gap between artworks and viewers, which has already attracted numerous audiences to participate in the opening ceremony. Besides, Leandro’s artworks are unique from conventional artworks of exhibitions in art museums. These large-scale interactive installations are required to create and develop site-specifically. The problem of capital operations involved in the whole process is also a new challenge for both the 足球开户系统 Art Museum and the artist.

The Director of Argentina National Museum of Fine Arts Andrés Duprat shared his expectation of the audience. He hoped that viewers could observe the exhibition based on their purely personal experience rather than theoretical knowledge. He believes that visual art could transcend the boundaries of language and culture to communicate with audiences directly in a mental sense. Therefore, the interpretations by curators, critics and other intermediaries within art museums and education systems are unnecessary for audiences. ?In Andrés Duprat’s viewpoints, at?least two issues are behind these alleged professional interpretations. First of all, the process of interpretating of artworks is similar to translation; yet either translation or paraphrase?would lead to the loss and deterioration of information. Secondly, authoritative points would strangle the ability of independent thinking of audiences and result in the convergence of understanding artworks. Leandro Erlich also emphasized the significance of independent thinking of viewers. “I am cautious in terms of making interpretations of my works as my explanations might restrict viewers’ thoughts. I would like to leave more space for them to explore the potential concepts behind my works.”

Artist Leandro Erlich introduced his creative ideas through two starting points behind his works, namely, breaking the mindset and facilitating the communication. In his viewpoint, the process of accumulating knowledge and experience exists in the development of human cognition. During this process, the mindset in terms of understanding the world is gradually formed. However, kids always overstep the mindset and break the boundary between normal situations and expectations. By observing the way that children perceive the world, Leandro creates artworks through returning to the basic level of human perception. Generally speaking, art always transcends the restrictions of conventional thinking while?actively questioning?and breaking?boundaries as well. Leandro pointed out that “communication” as the other theme of this exhibition, not only refers to the dialogue between audiences and artworks but also integrations between viewers themselves. He took the experience of viewing and interacting with his work “The Swimming Pool” as an example to elaborate his opinion furthermore.

Qiu Zhijie observed Leandro’s artworks from another perspective. He pointed out that “interaction” in this exhibition was over-emphasized, which might result in the impression that interaction is more significant than the delivery of concepts in Leandro’s artworks. In Qiu Zhijie’s opinion, he took an interest?in non-interactive parts ignored by the public discussion in Leandro’s work. He pointed out that the problem of over-interpretation exists not only in this exhibition but is also a normal condition in contemporary art. Therefore, Qiu Zhijie questioned the concept of interaction in this exhibition. He used the VR technique to reflect on the notion of interaction. First of all, the immersive effect of VR would partially deprive people’s ability of active thinking, which might cause ideological inertia. Besides, if social differentiation continues, VR might be used to comfort people at the bottom of society who never experience a good life. In this exhibition, some works are non-interactive so that they could not attract a great number of audiences; thus, concepts behind these works are difficult to convey to the public.

Wang Min’an interpreted Leandro’s artworks from three perspectives, namely, Space Theory, Perception and Heterotopy. He believes that memory and perception are inseparable with each other, and each perception exists with the previous memory. Therefore, when observing Leandro’s artworks, audiences’ perception of his works and the perception of space are misplaced, which might result in a sense of expectation. From this perspective, Leandro discusses the philosophical problem in terms of the breakage of memory and the current cognition. Besides, Wang Min’an holds the view that the atmosphere of “The Confines of the Great Void” elaborates Michel Foucault’s notion of “heterotopia”. Viewers immersed in this space would completely get rid of the daily life experience to gain a de-familiar experience.

Although using architecture as one of the creative methods, Leandro’s artworks are different to buildings in general. Zhou Yufang has pointed out that there is not much space for self-reflection in daily life architecture; however, in Leandro’s works, he utilizes a number of specular reflections to enable the self-examination in a heterogenous space. The public is shooting pictures?and sharing them?with each other in front of Leandro’s installations. That is one of the reasons that his works are easily disseminated around. “’Images’ are part of Leandro’s products, and this particular product is formed based on each individual’s intervention.

“The Confines of the Great Void” has broken regular exhibition modes?in art museums with a strong interactive identity. Its popularity among the public has triggered a discussion in terms of its position between academic and commercial perspectives. Zhang Zikang, Director of 足球开户系统 Art Museum, has pointed out that the alleged “Internet celebrity”can only prove?the exhibition’s success in raising concern among the public. It does not mean wakening its academic value. Taking and guaranteeing the academics as the premise, the existence of commerce is worthwhile. In Zhang Zikang’s point of view, Leandro’s work broadens people’s perceptions in terms of art and enables audiences to rethink the relationship between possibility and impossibility, reality and illusion, as well as ordinary and un-expected. “Leandro’s artworks enlighten us to think in cognition, to build up new knowledge while thinking. It also illuminates the direction of the education system in the future.”

In addition to the topics discussed above, participants in the following dialogue and Q&A sessions deeply discussed topics such as cultural symbols and the contradictory relationship between reflection and immersion etc. As an Argentine artist, Leandro creates his art without involving unique national identities. He references various local architectural styles in exhibition sites to design works adapted to the local culture instead. Thus, his works are able to develop a dialogue with the local culture.

Is?there a contradiction between independent thinking and immersive experience? Some audiences raised this question in the Q&A session. When viewing Leandro’s artworks, the strong interactive identity would indeed attract most of the viewers’ attention. In this case, it would squeeze the time for reflection in terms of deep meanings behind artworks. In Leandro’s perspective, independent thinking and interactive identity are not contradictory with each other. First of all, immersing in artworks and reflecting on meanings behind artworks are not required to happen at the same time. Instead, one could think and reflect when he or she leaves art museums. Secondly, thinking is diversified, thus?interaction and feeling?themselves?could trigger reflections as well.

Text by Xu Zijun

Translated by Emily Weimeng Zhou

Edit by Sue/足球开户系统 ART INFO

Photo by Li Biao/足球开户系统 Art Museum

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Qi Mu Space presents “How and Why: Zheng Lu Solo Exhibition” in Beijing-足球开户系统 http://www.sohbed.com/qi-mu-space-presents-how-and-why-zheng-lu-solo-exhibition-in-beijing.html http://www.sohbed.com/qi-mu-space-presents-how-and-why-zheng-lu-solo-exhibition-in-beijing.html#respond Mon, 29 Jul 2019 09:02:31 +0000 http://www.sohbed.com/?p=102172

Qi Mu Space presents Zheng Lu’s solo show entitled “How and Why” in Beijing. At the exhibition there is a large-size two-hour installation based on two of the events the artist experienced in 2017 and 2019.

In this exhibition Zheng Lu continues to explore “root metaphor” (his exhibition“Root Metaphor”is now on show at Sundarm Tagore Gallery in New York). As a concept, “root metaphor”, inherent in the conceptualization of abstract ideas, has nothing to do with the everyday, identifiable phenomenal world: it is a hidden, invisible kingdom that prioritizes reflection about the essence of life.

According to the American sinologist Sarah Allan, “root metaphor” is not a literary device but a concrete model that derives from a metaphorical structure whose connection involves a hidden law and order. The two seemingly unrelated occurrences run across at the miraculous moment, but it seems more like an appointment. It is interaction that inspired “How and Why”. When a brook runs into a stone or milk into coffee, the world of regularity gives to confusion. The artist produces a two-hour torrent in this light. Due to the limitation of the material used for the exhibition, a demonstrative performance is available only on the opening day.

The exhibition will remain on view till November 4th, 2019.

About the artist

Zheng Lu, born in Inner Mongolia in 1978, holds a Bachelor of Arts from the Department of Sculpture of Luxun Academy of Fine Arts and a Mater of Arts from the Department of Sculpture of Central Academy of Fine Arts. In 2005 he won a LVMH Prize and got three months’ training at The école Nationale Supérieure des Beaux-arts, ENSBA, Paris. His exhibitions include “Root Metaphor” (Sundaram Tagore Gallery, New York), “Partial Phenomena” (Shanghai Gallery of Art, Shanghai), “Re-sist-ance” (Long Museum, Shanghai), “Reflection on Still Water” (Parkview Green, Beijing), “Shiaosai” (Museum of Contemporary Art, Taipei), etc.

About the exhibition

Dates:?Jul 27, 2019 – Nov 4, 2019

Venue: Qi Mu Space

Courtesyof the artist and Qi Mu Space, for further information please visit?www.qimuspace.com.

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Mirror in Dreams and Image in Reality: “Mirror: Matteo Basilé and Shi Liang Duo Exhibition”-足球开户系统 http://www.sohbed.com/mirror-in-dreams-and-image-in-reality-mirror-matteo-basile-and-shi-liang-duo-exhibition.html http://www.sohbed.com/mirror-in-dreams-and-image-in-reality-mirror-matteo-basile-and-shi-liang-duo-exhibition.html#respond Mon, 29 Jul 2019 03:14:08 +0000 http://www.sohbed.com/?p=102189

“Mirror: Matteo Basilé and Shi Liang?Duo Exhibition” is held by Hongkun Museum of Fine Art from July 6th, 2019 to September 2nd, 2019, which features art exploration in terms of the integration of traditions and revolutions by Italian artist Matteo Basilé and Chinese artist Shi Liang.

As cradles of two ancient civilizations with a long history and profound culture, China and Italy share obvious similarities. The two countries have always maintained a close relationship not only in history, politics or culture, art, literature, but also values, behavior, habits and even food. Some people say that Italy is the European version of China.

Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Matteo Basile? PIETRASANTA 120×235cm pigmentprint onpaper 2016 Matteo Basile? JOURNEYTOTHE CENTEROFTHE EARTH 120×180cm pigmentprint onpaper 2017 Matteo Basile? JOURNEYTOTHE CENTEROFTHE EARTH2 40×60cm pigmentprint onpaper 2017 Shi Liang The Generation Born in the 1960's 160×150cm Oil on Canvas 2015 Shi Liang Never Getting Out of the Myth 200x180cm Oil on Canvas 2017 Shi Liang Realm 200×180cm Oil on Canvas 2016 Shi Liang The World of Sense Organs180×160cm Oil on Canvas 2015 Poster

In the 16th century, with the arrival of the Jesuits in Italy, China and Italy began the first substantive contact and exchange in history, and it was they who created a supreme example of cultural exchange between two civilizations. The Jesuits who were profoundly influenced by the Renaissance not only spread Christianity humanely, but also brought Italian geography, astronomy, mathematics, art and other modern scientific culture to China, bringing to China a great cultural shock during the Ming and Qing dynasties. In order to win the support of the Vatican for Chinese missionaries, Italy also introduced ancient Chinese culture, history, systems and so on into Italy. China became the object for emulation in Italy in the 17th century. At the same time, due to the opening up of new routes, a large number of Chinese artefacts were shipped to the West, which set off the “China Craze” in Europe in the 18th century.

In the 21st century, with the continuous integration of the East and the West in various fields, the old Silk Road glows with new lustre. With the advent of the new era, the exchange of culture and art between the two countries is becoming increasingly frequent. From classicism to realism, from the integration of art and technology to the exploration of the transcendental world of art, artists from?the two countries share similar experiences and ideas but different ways of expression.

The Italian artist Matteo Basilé and the Chinese artist Shi Liang are not only new generation artists who combine tradition with innovation but also typical representatives of contemporary art in their own countries. As one of the most influential contemporary Italian artists in the 21 century and winner of the 2009 Venice Biennale Award, Matteo Basilé’s works present a beautiful world of surreal images combined with technology. A tour of the artist’s perception of image eventually leads us to internalisation, sensory and intellectual understanding, where we are suddenly aware of the realities that usually lurk within us. It brings us back to classical history, and conveys the spirit of the present at the same time. Shi Liang, one of the representative figures of contemporary Chinese painting, starting from the reality of China, creates enlightening works using a variety of new materials to set people thinking profoundly about human life. Behind his creation is a clear understanding of the absurdity and awkwardness of reality as well as an atmosphere full of metaphor and irony. Their works, like “mirrors”, reflect the relationship between dreams and reality, senses and the mind, moment and eternity, past and future. They embody a completely clear and infinite narrative process, which consists of coexistence and epiphany, and these “mirror” maps will exist forever, dazzling the thousand-year history of mankind and the earth.

Text and Photo Provided by the Organizer

Edit by Emily Weimeng Zhou/足球开户系统 ART INFO

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DISCOVERING CHINA AS IT IS: a Photographic Exhibition by Bruno Barbey Reflecting on History-足球开户系统 http://www.sohbed.com/discovering-china-as-it-is-a-photographic-exhibition-by-bruno-barbey-reflecting-on-history.html http://www.sohbed.com/discovering-china-as-it-is-a-photographic-exhibition-by-bruno-barbey-reflecting-on-history.html#respond Sat, 27 Jul 2019 10:22:18 +0000 http://www.sohbed.com/?p=102145

Susan Sontag mentioned in On Photography that “photography serves a noble goal: revealing the hidden truth and preserving the disappearing past.” Photography provides people with a way of viewing history from a documentary perspective, especially for later generations. Despite the mad intervention and sharp modification of computer technology, regardless of its authenticity, which was once deeply questioned, but the images that were circulated did provide a proof of presence with “people, subject, thing” from a certain perspective. Perhaps in the era when everyone has a mobile phone to take pictures, all are?“photographers,” and a small number of people will go against this, making filming return to the good mood of the heart. However, in the era when only films dominate the situation, the history completely concentrated on the square of pictures. At this time, people often shouted loudly: we miss the era without retouching treatments when everything seemed to be?infinitely close to reality.

Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Exhibition View of DISCOVERING CHINA AS IT IS Bruno Barbey, Cross the Yangtse River by Ferry, Nanjing; Photography, 1973, 75×50cm Bruno Barbey, Paddy near Le Shan, Sichuan; Photography, 1980, 100×150cm Bruno Barbey, A Peasant Home, Chengdu; Photography, 1980, 100×150cm Bruno Barbey, Sitting on the Toe of Giant Stone Buddha at Leshan Mountain; Photography, 1980, 100×150cm Bruno Barbey, Students warmly welcomed the French President George Pompidou on Tiananmen Square; Photography, 1973, 75×50cm Bruno Barbey, Students were ready to welcome the French President George Pompidou on the Tiananmen Square; Photography, 1973, 75×110cm Bruno Barbey, Taking Pictures on the Great Wall; Photography, 1973, 75×110cm Bruno Barbey, The Canal Town at the Suburb of Shanghai; Photography, 1980, 75×110cm Bruno Barbey, Workers welcomed the motorcade of French President George Pompidou; Photography, 1973, 75×110cm Bruno Barbey, Yu Garden, Shanghai; Photography, 1980, 100×150cm Poster

Bruno Barbey, a former president of ?Magnum Photos International and now a?member?of Académie des Beaux-Arts, who has witnessed the development of China through his lens. Barbey was born in Morocco in 1941 and joined Magnum Photos in the 1960s. His work focuses on highlighting colors and having a strong visual style. His footprints spread all over the world. He has photographed many important people and focused on the beauty of daily life. Besides winning various awards, he was made a Knight of France’s?National Order of the Legion of Honor in 1982.

In September 1973, Mr. Barbey visited China with the then French President George Pompidou. He recorded the Chinese through the eyes of Western photographers with his camera. As Barbey said, “It is very exciting to record photos in a modern country which was at a crucial moment of history.” This year is also the 55th anniversary of the establishment of diplomatic relations between China and France. A series of Sino-French cultural activities have been launched in both countries. With DISCOVERING CHINA AS IT IS: a Photographic Exhibition of Bruno Barbey?as the title, the exhibition features 49 photographs taken by Bruno Barbey during his visit to China in the 1970s and 1980s. At the same time, he also donated 69 masterpieces to the National Art Museum of China.

At that time, photographers generally used black and white photos. In the era when color photography was not taken seriously, Barbey took the lead in trying Kodak Chrome?color films, which shows the importance of technical support and pioneering spirit.

Lens may be just a medium and a tool. It really carries a thought, from the observation, imagination, narrative and exploration of the master behind the lens. It is like a writer using words, an artist using a brush, and a camera is a photographer’s “speaking way” and “communicative means.” Barbey’s photography was not obsolete because of the passage of time. On the contrary, each photo has a different appeal. After years, they are still full of rich and original colors.

As Mr. Wu Weishan mentioned in his preface for the exhibition, Barbey once said “photography is the only language that can be understood anywhere in the world.” This exhibition rediscovers China as it was while reflecting on the historical scenes of China, which were once again reunited and re-examined. The exhibition will remain on view until July 28.

Text by Zhang Yizhi, translated and edited by Sue/足球开户系统 ART INFO

Photo Courtesy of the Artist and National Art Museum of China


About the artist

Bruno Barbey, born in Morocco, has dual nationality, French and Swiss. He studied photography and graphic arts at the école des Arts et Métiers in Vevey, Switzerland. In 1961-1964 he photographed the Italians, perceiving them as protagonists of a ‘theatrical world’, with the aim of capturing the spirit of a nation. Bruno Barbey began his relationship with Magnum Photos in 1964. He served as Magnum vice president for Europe in 1978/1979 and as President of Magnum International from 1992 to 1995.

Over five decades Bruno Barbey has photographed in all five continents and covered wars and conflicts in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq and Kuwait. His work has appeared in the world’s major magazines and he has published over 30 books. In 1999 the Petit Palais, Paris, organized a large solo exhibition of photographs taken by Bruno Barbey in Morocco over a period of three decades.

In 2015/2016, La Maison Européenne de la Photographie, Paris, showed his retrospective exhibition which is currently circulating internationally. He published simultaneously his retrospective book “Passages”.
He has received numerous awards for his work, including the French National Order of Merit.
In 2016, Bruno Barbey was elected a member of the French Academy of Fine Arts, Institut de France.
His photographs are exhibited worldwide, and feature in numerous museum collections. Today he is working on a new project and photographing extensively in China.

For further information please visit?www.brunobarbey.com.?

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Yuz Museum presents Ni Youyu’s solo exhibition “∞” in Shanghai-足球开户系统 http://www.sohbed.com/yuz-museum-presents-ni-youyus-solo-exhibition-%e2%88%9e-in-shanghai.html http://www.sohbed.com/yuz-museum-presents-ni-youyus-solo-exhibition-%e2%88%9e-in-shanghai.html#respond Fri, 26 Jul 2019 09:41:08 +0000 http://www.sohbed.com/?p=102135

An artist is never a creator, but a leader of perceiving and viewing. All materials are originally in endless circulation, and what I do is simply interfering a certain section of their connatural gene strand.

—Ni Youyu

Yuz Museum is pleased to present Ni Youyu’s solo exhibition “∞,”?from August 17th to October 20th, 2019 at Yuz Project Space of Art. This is the artist’s first solo exhibition of installation works in Mainland China after 4 years. It features works created over the time span of a decade, reveals the unbeknownst part of the artist in his creation, which most of the works were never shown before.

Ni Youyu, Nude Rolling Down from the Staircase (details)
2017-2019
Mixed media, 160 × 40 × 40 cm
Courtesy of the artist

Ni Youyu’s installation comes hand in hand with his paintings, though the latter are more renowned. He attempts to break away from the obvious temporary tastes and visual habits, both methodologically and conceptually, aspiring to a return into the longer-lasting retrospection and recurrence. Such art, claimed by the artist as “de-temporary”?creation, will construct a micro “museum” with an archaic undertone: showcases of different heights standing row upon row, redolent of upright “men”?or monuments of various characters; history relics and the vast universe are miniaturized in the limited space of the installation, as if archaeological fragments were revived in chaotic time and space. In Jean-Paul Sartre’s opinion, “What we mean to say is that a man is nothing but a series of enterprises, and that he is the sum, organization, and?aggregate of the relations that constitute such enterprises”;Ni Youyu, however,?seems uninterested in neither becoming a “stylized”?artist nor designing symbolic landscapes and imageries; instead, he tends to use a more silent method to establish an intricate system of aesthetics, shrouding it in ambiguity.

Ni Youyu, Art-occupied Moon (details), 2019
Mixed media, 161 × 32 × 32 cm
Courtesy of the artist

Ni Youyu, Woodcutter, 2019
Mixed media, 137 × 38.5 × 34.5 cm
Courtesy of the artist

The artist created his own M?bius strip and generated a cycle of different dimensions in “∞”. Sundries that bear a touch of time gleaned from flea markets, antique stores, vintage boutiques and even dumps, are rearranged in the artist’s studio, where their intrinsic rational functions and attributes are eliminated, and redefined as an abstract yet perceivable aesthetical logic. This resonates on his remark: “an artist is never a creator, but a leader of perceiving and viewing. All materials are originally in endless circulation, and what I do is simply interfering a certain section of their connatural gene strand.”?In addition, through a string of co-created works with his father, Ni Youyu guides the audience to interpret the genetic “circulation”—the exhibition in particular includes the earliest “collaboration”?with his father while he was still a child in late 1980s and an installation he, after becoming an artist, transformed from the architectural model his father used for teaching. Perhaps it explains more or less why Ni Youyu maintains a core spirit of craftsmanship beneath his unconstrained ideas of art.

Ni Youyu
Temple (details)
Mixed media
170 × 31 × 21 cm
2016-2019
Courtesy of the artist

Ni Youyu
Untitled (Made in collaboration with artist’s father)
Mixed media
35.5 x 47.5 x 31.5 cm
1990-2019

The giant “∞” projected in the gallery runs through the artist’s oeuvre, connecting a philosophical discourse contextualized in history, culture as well as the ties of family.

About the artist

Ni Youyu (Photo by Jia Rui)

Ni Youyu was born in 1984, and currently lives and works in Shanghai. He graduated in 2007 from the Shanghai Academy of Fine Arts, majored in Chinese traditional painting. He was awarded the Contemporary Chinese Art Award (CCAA) as “Best Young?Artist” in?2014.?Ni?has?exhibited?widely?in museums and art institutions?internationally. His solo exhibitions include: “Relic,”?Contemporary Fine Arts, Berlin, 2018; “Ni Youyu: Dust Paintings,”?Orange County Museum of Art, California, 2018; “So Near Yet So Far,” Galerie Perrotin, Hong Kong, China, 2018; “Concrete Waterfall,”?Kunstverein Konstanz, Konstanz, 2017; “The Endless Second,” Galerie?Nathalie Obadia, Paris, 2017; “Constant Dripping Wears Away a Stone,”?MOCA Taipei, Taipei, China, 2015; “Inches of Time,”?Art Museum of Nanjing University of the Arts, Nanjing, China, 2014; “Form and Matter,”?Hive Center for Contemporary Art, Beijing, China, 2013; “A Brief? History,” Shanghai Art Museum, Shanghai, China, 2012. Group shows include: “Chinese Whispers: Recent Art from the Sigg Collection,”?Austrian Museum of Applied Arts /?Contemporary Art, Vienna, 2019; “The Weight of Lightness,”?M+ Museum, Hong Kong, China, 2017; “Ritual Spirit,”?White Rabbit Gallery, Sydney, 2017; “Ink Remix: Contemporary art from Chinese mainland, China’s Taiwan and China’s Hong Kong,”?Canberra Museum, Canberra, 2015; “Ctrl+N??–??The 9th Gwangju Biennale Special Exhibition,”?Gwangju Museum of Art, Gwangju, 2012 and etc. His works have been collected by Brooklyn Museum, M+ Museum, Singapore Art Museum, White Rabbit Gallery, Rockbund Art Museum, Me Collectors Room, Arario Museum, Sigg Collection, DSL Collection, Ghisla Art Collection and etc.

About the exhibition

Dates:?Aug 17, 2019 – Oct 20, 2019

Venue: Yuz Museum

Courtesy of the artist and?Yuz Museum, for further information please visit?www.yuzmshanghai.org.?

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Chronus Art Center presents “Open Codes. Connected Bots” in Shanghai-足球开户系统 http://www.sohbed.com/chronus-art-center-presents-open-codes-connected-bots-in-shanghai.html http://www.sohbed.com/chronus-art-center-presents-open-codes-connected-bots-in-shanghai.html#respond Wed, 24 Jul 2019 14:07:24 +0000 http://www.sohbed.com/?p=102095

Open Codes?brings computing and art together in various ways. It is a new form of assembly, combining practical knowledge of computer code and critical artistic approaches in a single venue. The project seeks to empower its participants to regain access to reality through instruments of thought and to reflect on the genealogy and current social impact of digital code, computer programming, and software.

The current iteration of this project at the Chronus Art Center focuses on the affective resonance of algorithms and the reciprocal, perceptual entanglements of computational simulacra and physical reality. The ability to navigate the world of code, hand in hand with digital literacy, are essential to contemporary society in the age of planetary-scale computation, especially when algorithmic agents are designed to influence public opinion.

Virtual software agents, colloquially referred to as bots, run mostly repetitive tasks at a higher speed than humans ever could. Some specialize in conversations on online platforms, where they are programmed to act like regular people. Social media bots are a product of the new economies of visibility and currently make up more than half of online traffic. Some bots can learn from us; others can spider the web to index content; further ones strive to alter our mindsets and are used in political campaigns, and others maliciously litter inboxes with spam.

DISNOVATION.ORG, Predictive Art Bot, 2017, two-channel projection, online bot. Exhibition view from a solo show in Nantes. ? Photo: the artists GUO Cheng: The Net Wanderer. A TourSuspended Handshakes, 2019, interactive installation ? Photo: the artist Kate Crawford and Vladan Joler, Anatomy of an AI System, 2018, Print. Exhibition view at Open Codes, ZKM | Center for Art and Media Karlsruhe. ? ZKM | Center for Art and Media Karlsruhe, Photo: Jonas Zilius Zach Blas and Jemima Wyman, im here to learn so :)))))), 2017, 4-channel video installation, Exhibition view at Open Codes, ZKM | Center for Art and Media Karlsruhe. ? ZKM | Center for Art and Media Karlsruhe, Photo: Jonas Zilius aaajiao in collaboration with Quanquan, bot,, 2017-18, single channel video, color; website screenshots. ?Photo: the artist

The world bot derives from “robot”, first used by Karel ?apek in his 1920 science fiction novel, to describe a fictional humanoid. Robot became known as a word for autonomous machines, capable of carrying out complex tasks, that can be forced to work, as the meaning of the Czech word ‘robota’ suggests. Robots, whether with or without a built body, are meant to provide services, much like the natural language conversation program, ELIZA, described by Joseph Weizenbaum in 1966. This early chatbot was in some users’ opinion a better psychologist than its human alternatives. A couple of decades later virtual assistants, like Alexa, are not only capable of chatting, but of accomplishing more complex tasks, and are now as mundane as a hairdryer in certain parts of the world.

Countless experiments and actual applications of binary-based human substitutes are now in use. Despite their advantages, these tools come at a price –the seamless operation of a virtual assistant obscures cumbersome human labour. Chatbots aggregate knowledge from their conversations with users, who do not necessarily represent society as a whole, thus their statements often repeat racist or sexist opinions and may reinforce the kinds of social exclusion they have been fed with.

Whether they play music, mine bitcoin, or chat with us, the bots’ influence grows. As a consequence of this development, we might ask if we are becoming bots ourselves? As we sit ina stylish co-working space in front of a computer, bots are influencing our decisions. Algorithms numb human agency to a shocking degree, with inevitable implications for perception, memory, and social interactions, whether with bots or among ourselves. Human dependency on computation has become mutually reinforcing on multiple levels, going beyond binary oppositions.

The exhibition includes artworks based on computer code, as well as artworks that reveal how deeply such code has penetrated our lives, societies, geopolitical situations, fiscal systems, labour conditions, infrastructure, environment, and even the perception of our own source code, DNA.

With the aid of around 20 works by artists and programmers, the exhibition presents the world of digital code and its future influence in eight sections:

#GenealogyOfCode

#Coding

#MachineLearning

#AlgorithmicGovernance

#AlgorithmicEconomy

#VirtualReality

#Labor&Production

#GeneticCode

These key terms form an imaginary map, which serves as the grounds?for understanding the world we inhabit.

From an algorithm that turns the latest media headlines into artistic concepts?(DISNOVATION.ORG:?Predictive Art Bot, 2017), to the anatomy of a particular AI system (Kate Crawford, Vladan Joler:?Anatomy of an AI System, 2018), or a resurrected chatbot, sharing its life story (Zach Blas, Jemima Wyman:?im here to learn so :)))))), 2017), artists analyze contemporary realities, in which human and algorithmic agency are interwoven.

A neural network, a type of artificial intelligence application, was used to depict a machine’s assumptions of how people would think a machine would interpret the mind (aaajiao:?bot,, 2017-18). Algorithms construct identities in manifold ways, not just by infiltrating perception and memories, but through their presence and absence in certain geopolitical situations.?In the?project?The Net Wanderer, the artist?explores the connection between the critical network gateways in China and the infrastructure running these gateways (GUO?Cheng:?The Net Wanderer. A TourSuspended Handshakes, 2019).

The discourse of the exhibition is laid out as an architectonic parcours to offer visitors the?opportunity to use the workstations for independent creative activities. The spaces of Chronus Art Center bear multiple functions: the exhibition halls display artworks, but are also available for events, workshops, meetups, and lectures, as well as independently browsing Open Codes’ thematically curated library.

The Shanghai iteration of the project was partially devel- oped in collaboration with the Central Academy of Fine Arts, East China Normal University and Tongji University, as well as with hacker and maker spaces. Selected student works will be presented throughout the duration of the exhibition. The exhibition is generously supported by Vitra. Public programs related to the exhibition are supported by Pro Helvetia Shanghai, Swiss Arts Council and swissnex China.

Open Codes. Connected Bots?is a satellite exhibition of?Open Codes?at the ZKM | Centre for Art and Media Karlsruhe, Germany, which ran from October 20, 2017 to June 2, 2019.

About the exhibition

Dates: July 20 – October 7, 2019
Venue: Chronus Art Center (CAC)
Address: BLDG.18, No.50 Moganshan RD., Shanghai

Curated by
Christian L?LKES, Lívia NOLASCO-RóZSáS, and ZHANG Ga

Artists
aaajiao, Zach Blas and Jemima Wyman, Bleeptrack, James Bridle, Max Cooper and Andy Lomas, Kate Crawford and Vladan Joler, DISNOVATION.ORG , Jonas Eltes, César Escudero Andaluz and Martín Nadal, GUO Cheng, Bernd Lintermann, Shawn Maximo, Joana Moll, Sebastian Schmieg, Adam Slowik, Nye Thompson, WANG Changcun, Peter Weibel and Christian L?lkes, ZKM|Hertz-Lab, 996.ICU

Co-organized by
Chronus Art Center (CAC),ZKM | Center for Art and Media Karlsruhe

Supported by
Vitra,?Pro Helvetia Shanghai, Swiss Arts Council, swissnex China

Courtesy of?Chronus Art Center (CAC),ZKM | Center for Art and Media Karlsruhe.?

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Everlasting Beauty of Dunhuang — The Exhibition of Chang Shuhong and Chang Shana’s Art Works-足球开户系统 http://www.sohbed.com/everlasting-beauty-of-dunhuang-the-exhibition-of-chang-shuhong-and-chang-shanas-art-works.html http://www.sohbed.com/everlasting-beauty-of-dunhuang-the-exhibition-of-chang-shuhong-and-chang-shanas-art-works.html#respond Wed, 24 Jul 2019 03:33:58 +0000 http://www.sohbed.com/?p=102106 Exhibition View

On 15th?of July, 2019, the exhibition “Everlasting Beauty of Dunhuang — The Exhibition of Chang Shuhong and Chang Shana’s Art Works” commenced on the 3rd?floor exhibition hall in Tsinghua University Art Museum. This exhibition features the life and art creation of artists Chang Shuhong and Chang Shana as father and daughter, and?the cultural confidence and Dunhuang spirit inherited between the two generations.

Chang Shuhong was one of the most eminent artists among Chinese artists and a forerunner in studying abroad in France. After returning to China, Chang strove?to preserve Dunhuang cultural heritage throughout his life. Hence, he was praised as the “Guardian of Dunhuang”. His daughter, Chang Shana (Saone Chang), was influenced by him and dedicated her life to education and promotion of Dunhuang. Both of them are well-known Dunhuang experts in China.

Artist Chang Shana Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View Exhibition View “The Artist’s Family” Chang Shuhong 1933 “Dunhuang Farmer” Chang Shuhong 1947 “Female Patron” Chang Shuhong “Jataka of Prince Mahasattva” Chang Shuhong 1944 “The Nine-storey Building” Chang Shuhong 1952 “Lamp-offering Bodhisattva” Chang Shana 1947 “Buddha’s Converting of 500 Outlaws” Chang Shana “Prayer Bodhisattva” Chang Shana 1947 “Wall Painting” Chang Shana 2000-2004 “The Analysis of Patterns on Female Patron’s Cloth” Chang Shana “Effect Picture of Decoration of the Great Hall of People’s Ceiling”, used in the reconstruction in the 1990s “Sunflower” Chang Shana 1996 “Consolida Ajacis” Chang Shana 1979 Exhibition Poster

Chang Shana carries on her father’s work. She started copying and studying Dunhuang murals since?she was twelve years old. She demonstrated her talent and was sponsored to study abroad in the U.S. After returning from abroad, she stepped out into the field of arts and crafts under the guidance of Lin Huiyin, noted architect and writer. She applied Dunhuang art patterns using decorative designs of the Great Hall of the People and other national designing projects. Also, as an artist, she was inspired by nature and produced exquisite paintings of flowers. Chang, with her unique artistic style, has made a distinguished contribution to incorporating a Chinese traditional context with a modern design.

The exhibition “Everlasting Beauty of Dunhuang” featuring art works by Chang Shuhong and Chang Shana?starts with the “Return From Paris” section, moves into the “Blood Connection” section and finally ends at the section on applications of Dunhuang art. It provides the audience with a real example of the extension and creation based on studying the ancient culture. The exhibition displays around 200 works, connecting the lives of the two generations, and expresses the core idea: cultural protection and inheritance. It evokes the modern generation to introspect towards a mission of success and revive their cultures in this era.

The exhibition is open to the public until 15th?of September, 2019.

About the exhibition:

Exhibition Period:?16 July 2019 – 15 September 2019

Exhibition Venue:?3rd floor exhibition hall, Tsinghua University Art Museum

Chief Planner:?Su Dan

Counselor:?Lu Xiaobo

Curator:?Tina Huang

Artists:?Chang Shuhong, Chang Shana

Project Coordinator:?Wang Chenya, Cui Donghui, Tina Huang

Curatorial Assistant:?Bao Yue, Zeng Haowei, Zhou Jian’e

Visual Supervision:?Wang Peng, Yu Junya, Qi Qiulan

Visual Design:?Guo Xin, Bao Yue

Exhibition Design:?Yu Junya, Guo Xin, Bao Yue

Exhibition Team:?Wang Chenya, Lan Yu, Zeng Yiye, Zhang Xiaoling, He Hongye, Zhu Chuandong

Translation Consultant: Fiona Tseng

Text Translation:?Allen Tseng

Administration Affair:?Fiona Tseng

Host:?Tsinghua University Art Museum, Academy of Arts & Design, Tsinghua University

Co-organizer:?Gansu Provincial Department of Culture and Tourism, Dunhuang Research Academy, Northwerst Normal University, Institute of Jiangnan Silk Palace

Execution Unit: Beijing Succession Art and Culture Co., Ltd.

Text and Photo Provided by Organizer

Edited by Emily Weimeng Zhou/足球开户系统 ART INFO

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Wooton Gallery announces its inaugural exhibition opening on July 28-足球开户系统 http://www.sohbed.com/wooton-gallery-announces-its-inaugural-exhibition-opening-on-july-28.html http://www.sohbed.com/wooton-gallery-announces-its-inaugural-exhibition-opening-on-july-28.html#respond Tue, 23 Jul 2019 14:17:11 +0000 http://www.sohbed.com/?p=102072

Preface?

By Qu Yin

When the traditional art media and expressions can’t serve as the cultural symbols of creative thinking, a new art path which related closely to the development of ages is emerging.

In the context of “same”, how to maintain the distance between the original, critical, experimental and creative parts of the creation and the public “Hong” becomes an extremely crucial problem and makes the “same” and “different” more valuable and meaningful to be discussed.

This summer, the first exhibition of Wooton Gallery will open. The exhibition invited Cai Caibei, Chi Qun, Fang Lijun, Fu Bin, Guo Donglai, Wang Lijun, Wu Mengshi and Zhu Peihong to participate as artists. They use different ways to convey contradictions and confusions that related to the time’s property.

I am very honor to be the curator of the first exhibition of “Wooton”, and I am very grateful to have the opportunity to participate in the contemporary development of my hometown Changsha. The young founder of “Wooton” not only has a unique appreciation for art but also has a transcendence sense of foresight and responsibility in the development of contemporary art in Changsha, even China. The development of modern art not only needs “soil”, but the realistic “protection mechanism”. I expect “Wooton” to become a new place for Chinese contemporary art and a rock of young artists who dares to challenge.

About the exhibition

Dates:?Jul 28, 2019 – Sep 22, 2019

Venue:?Wooton Gallery

Courtesy of Wooton Gallery

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“New Image of the Era” — The 2019 China Jingdezhen “Taoxichuan” Public Sculpture International Exhibition Call for Designs-足球开户系统 http://www.sohbed.com/new-image-of-the-era-the-2019-china-jingdezhen-taoxichuan-public-sculpture-international-exhibition-call-for-designs.html http://www.sohbed.com/new-image-of-the-era-the-2019-china-jingdezhen-taoxichuan-public-sculpture-international-exhibition-call-for-designs.html#respond Sun, 21 Jul 2019 13:11:39 +0000 http://www.sohbed.com/?p=102064

1.?Background ? ??

With its long history and profound cultural heritage, Jingdezhen is a well-known porcelain capital both at home and abroad. It has a history of two thousand years of pottery making, a thousand years of official ware making and six hundred years of imperial ware making, leaving a great amount of unique ceramic cultural remains. It is one of the first historical and cultural cities announced by the State Council, “a member of the Global Creative City Network”and awarded a title of “the World’s Crafts and Folk Art Capital”. It is a city full of history, culture and stories.

In recent years, urban construction in Jingdezhen has been undergoing great changes in terms of both urban appearance and infrastructure construction,on the basis of maintaining traditional cultural genes and modern industrial memories. “New Image of the Era” — the 2019 China Jingdezhen “Taoxichuan”Public Sculpture International Exhibition hopes to utilize the medium of public sculpture to create a harmonious metropolitan environment with both modern vitality and cultural heritage from the artistic point of view.

The exhibition is jointly organized by the People’s Government of Jingdezhen Municipality and the Central Academy of Fine Arts. Call for excellent public sculptures, public art installations, and landscape installations is open to artists, architects, designers, art schools and related art and design institutions worldwide so as to discuss the proposition of “integrating art into metropolitan space”.

2.Theme ? ??

The exhibition is themed on “New Image of the Era”. It is committed to further promoting and spreading the traditional culture of the millennium porcelain capital in combination with the new pattern of current urban and cultural development of Jingdezhen, demonstrating its unique charm — a city of art, a city of culture, a city of innovation and a livable city through novel art form and content,accelerating its development of urban public space art, further enhancing its urban cultural taste, striving to create a collection of fine public sculptures that express the spirit of innovation, highlight history and culture and represent the characteristics of the era, and making them a distinctive symbol for Jingdezhen in the new era.

3.Organization framework

Sponsors:

The Central Academy of Fine Arts, the People’s Government of Jingdezhen Municipality

Organizers:

Jingdezhen Municipal Bureau of Culture, Broadcasting, Television, Press and Publication,Jingdezhen Ceramic Culture Tourism Group, the Sculpture Department of the Central Academy of Fine Arts

Title sponsor:

Jingdezhen Ceramic Culture Tourism Group

Organizing Committee:

Directors:

Fan Di’an(President of the China Artists Association, President of the Central Academy of Fine Arts)

Zhong Zhisheng(Secretary of the CPC Jingdezhen Municipal Committee)

Gao Hong (Party Secretary of the Central Academy of Fine Arts)

Liu Feng (Deputy Secretary of the CPC Jingdezhen Municipal Committee, Mayor of JingdezhenMunicipal Government)

Deputy directors:

Lv Pinjing (Deputy President of the Central Academy of Fine Arts, Director of the Architectural Art Committee of the China Artists Association)

Huang Jinlong(Executive Vice Mayor of Jingdezhen Municipal Government)

Xiong Hao (Vice Mayor of Jingdezhen Municipal Government)

Committee members:

Wang Shaojun(Deputy Party Secretary of the Central Academy of Fine Arts)

Lv Pinchang (Head of the Sculpture Department, Central Academy of Fine Arts)

Zhu Pei (Dean ofthe School of Architecture, Central Academy of Fine Arts)

Wang Zhong (Dean of the School of City Design, Central Academy of Fine Arts)

Hu Quanchun(Associate Professor of the Central Academy of Fine Arts, Executive curator)

Ning Gang(President of the Jingdezhen Ceramic Institute)

Sun Gengjiu (Vice Chairman of Jingdezhen Municipal PCC, Director of Jingdezhen Municipal Bureauof Natural Resources and Planning)

Sun Yanfeng(Director of Jingdezhen Municipal Bureau of Finance)

Yu Zhihua(Director of Jingdezhen Municipal Bureau of Culture, Broadcasting, Television,Press and Publication)

Chen Fengjin(Director of Jingdezhen Municipal Bureau of Housing and Urban-rural Development)

Liu Zili (Chairman of the Jingdezhen Ceramic Culture Tourism Group)

Zhou Guozhen(Professor of the Jingdezhen Ceramic Institute)

Cao Chunsheng(Professor of the Jingdezhen Ceramic Institute)

Lv Jinquan (Dean of the School of Ceramic Art, Jingdezhen Ceramic Institute)

Organizing committee office

Directors:

Huang Jinlong(Executive Vice Mayor of Jingdezhen Municipal Government)

Lv Pinjing (Deputy President of the Central Academy of Fine Arts)

Deputy directors:

Yu Zhihua(Director of Jingdezhen Municipal Bureau of Culture, Broadcasting, Television,Press and Publication)

Liu Zili (Chairman of?the Jingdezhen Ceramic Culture Tourism Group)

Lv Pinchang(Deputy President of the Chinese City Sculptors Association, Head of the Sculpture Department, Central Academy of Fine Arts)

Office members:

Sun Tingting,Huang Shan, Wang Chuan, Tan Bin, Sun Jie, Li Zhijie, Luo Bin, Tian Ye, WangTongmao, Peng Guohong, Zhu Songxing, Dong Yu, Xu Taosheng, Yue Jun, Xu Zhihua,Xiong Honghua, Wang Pengfei, Liu Guolei, Cheng Xiaoyuan, Song Yang, Hu Qiming

Chief curator:

Fan Di’an(President of the China Artists Association, President of the Central Academyof Fine Arts)

Executive curators:

Lv Pinchang (Head of the Sculpture Department, Central Academy of Fine Arts, Deputy President of the Chinese City Sculptors Association)

Hu Quanchun(Director of Public Arts Studio, Sculpture Department, Central Academy of Fine Arts)

Art Council

Director:?Fan Di’an

Deputy directors:?Cao Chunsheng, Lv Pinjing, Ning Gang

Council members:

Cao Chunsheng(Honorary President of the China Sculpture Institute)

Richard Deacon(UK)

Bjorn Norgaart(Denmark)

Torbjon Kvasbo(Norway)

Lv Pinchang(Professor of the Central Academy of Fine Arts, Deputy President of the Chinese City Sculptors Association)

Wang Zhong (Dean of the School of City Design, Central Academy of Fine Arts)

Zhu Pei (Dean of the School of Architecture, Central Academy of Fine Arts)

Sun Zhenhua(Renowned critic, Professor of the China Academy of Art)

Yin Shuangxi(Renowned critic, Professor of the Central Academy of Fine Arts)

Jon Isherwood(U.S.)

Sui Jianguo(Renowned sculptor, Professor of the Central Academy of Fine Arts)

Tony Brown(France)

Hu Quanchun(Associate Professor of the Central Academy of Fine Arts, Executive curator)

Liu Yuanchang(China Arts and Crafts Master)

Huang Sheng(Deputy Dean of the School of Ceramic Art, Jingdezhen Ceramic Institute)

Chen Liping (Dean of the Graduate School, Jingdezhen Ceramic Institute)

Gao Feng (Vice President of Jingdezhen Sculpture Association)

4. Exhibition time and venue

Time: December 20, 2019-February 20, 2020

Venue: Jingdezhen Taoxichuan Art Gallery

5.Organization and collection of works

·????25 spatial?nodes are?selected out in the urban area of Jingdezhen for this exhibition and artists shall create their works based on specified spatial nodes.

·????Call for designs is announced on July 20, 2019.

·????The exhibition is divided into 5 sections, which are primary selection, secondary selection,exhibition of shortlisted designs, onsite completion and awarding for onsite completed works.

·????Call for designs is open to China nationwide and other international communities.

·????The organization and collection of works takes the latest urban planning of Jingdezhen as top premise. The organizing committee provides registration forms, specific urban spatial nodes files, on-site photos, environment videos of spatial nodes, etc. Artists may choose any sites from those urban spatial nodes provided by the committee. All creations must be carried out based on specific spatial circumstances so as to reflect the unique cultural traditions and current characteristics of Jingdezhen. (Notes: Each registration form is only for one piece of work.)

·????Applicants are not required to pay any registration or participation fees.

6.Creation guidelines

All exhibited works for “New Image of the Era” — the 2019 China Jingdezhen “Taoxichuan” Public Sculpture International Exhibition should conform with the following characteristics:

·?????Artistry: The design shall be up to a high artistic standard, which fully demonstrates the remarkable aesthetic value of art;

·?????Culture & regionality: The design shall carry rich cultural meaning, which embodies the inheritance and transformation of the traditional culture in Jingdezhen;

·?????Internationality:The design shall express a broad international vision, which shows the exchange and integration of international cultures;

·?????Innovation: The design shall focus on innovation — the language of this era, and new ideas, forms and materials are encouraged to promote the organic combination of art and technology.

7.Program agenda

(1) Time for registration and submission for?primary selection:

July 20, 2019 — September 30, 2019 (registration and submission is due at 12 pm, Beijing time).

Registration and submission procedure:

①?Click on the URLs in this Call for Designs to download relevant documents and registration forms for “New Image of the Era” — the 2019 China Jingdezhen “Taoxichuan” Public Sculpture International Exhibition. (See the tenth item for download URLs)

②?Fill in the Registration Form for Primary Selection.

③?The Registration Form for Primary Selection (electronic) and designs for the exhibition shall be sent via email to the designated email address before deadline. Documents delivery must be completed by 12pm (Beijing time) on September 30, 2019.

④?Design submission requirements: 3 effect pictures (electronic), image size: 42 cm x 29 cm (pixel 300 dpi).

The effect pictures shall demonstrate the relationship between different angles of the design and the actual space settings. The corresponding spatial node number, location, basic dimensional drawings, materials and creation description must be indicated in the pictures.The description shall be concise, clear and complete. No information relating to the author should be included in the images submitted. All such information can only be filled in the Registration Form for Primary Selection as required.

Notes:?All submitted works must be original and must not be plagiarized. If there is any copyright dispute, the organizing committee will cancel the applicant’s qualification, put him into the blacklist of discredit and notify the whole industry. Therefore, any legal liability shall be undertaken by the applicant himself. Once the application is delivered, the applicant shall be considered to fully understand and accept the rules in this Call for Designs. If any submitted document does not meet the requirements, the applicant may make corrections before deadline.

(2) Primary selection review:

·????Before October 10,2019, the review board will select out 60 shortlisted awards from all submitted applications. After the selection process is finished, shortlisted candidates will be announced on the official websites of the People’s Government of Jingdezhen Municipality and the Central Academy of Fine Arts.

·????After the announcement of shortlisted candidates, the organizing committee will provide material and production fees for design revision to the 60 shortlisted artists to participate in secondary selection, which will be paid in twice. The funds are mainly used to support artists to revise their designs, make small maquettes and transport their works. (See the fund distribution and awardsetting for details)·?????The 60 shortlisted artists will need to revise their primary designs after receiving the shortlisted notice in order to participate into the second round.

·????Anyone who does not revise his design or provide documents according to the submission requirements shall be considered to automatically waive his qualification for secondary selection.

·????Those who are not shortlisted will not be notified.

(3) Time for design revision and submission for secondary selection:

October 15, 2019 — December 5, 2019 (12 pm, Beijing time)

Registration and submission procedure:

①?Fill in the Registration Form for Secondary Selection after receiving the notice for the next round and documents shall be sent via email to the designated email address.

②?Submitted documents include:

·????A small maquette of the revised design (physical model), size: within the scope of 1.2 m×1.2 m×1.2 m

·????3 to 5 effect pictures (electronic), layout size:118.9 cm×84.1 cm (JPG format), pixel 300dpi.?The corresponding spatial node number, location, basic dimensional?drawings, materials and creation description shall be indicated in the pictures. The description may help reviewers to understand the work, which aims to explain the ideas and concepts of the design. No information relating to the author should be included in the images submitted. All such information can only be filled in the Registration Form for Secondary Selection as required.

·?3D digital source files of the shortlisted designs (referring in particular to the artwork produced by 3D digital technology modeling)

·????Electronic version of the Registration Form for Secondary Selection

③The small maquettes for secondary selection shall be transported to the designated location before December 5, 2019 (12 pm, Beijing time).

Notes:?All submitted works must be original and must not be plagiarized. If there is any copyright dispute, the organizing committee will cancel the applicant’s qualification, put him into the blacklist of discredit and notify the whole industry. Therefore, any legal liability shall be?undertaken by the contributor himself. All submitted works shall not be returned by the organizing committee.

(4) Secondary selection review:

On December 19, 2019, the review board will select out 30 finalist works from the 60 ones in the second round. After the selection process is finished, finalist candidates will be announced on the official websites of the People’s Government of Jingdezhen Municipality and the Central Academy of Fine Arts.

(5) Exhibition and awarding:

·?? ??Exhibition time:December 20, 2019-February 20, 2020.

·?? ??Venue:?JingdezhenTaoxichuan Art Gallery

(All works qualified for primary and secondary selections will be exhibited)

(6) Review, exhibition and awarding of the onsite completed works:

·????The review board will select a certain number of works to be completed onsite that are in accordance with the urban spatial characteristics and actual demands of Jingdezhen.

·????The organizing committee will organize onsite completion after signing relevant agreements with the artists whose works are finally selected to be completed onsite.

·????Exhibition of the onsite completed works will be held on June 20, 2020 (venues: locations where the works are completed in the urban area of Jingdezhen)

·???On June 20, 2020,the review board will select 6 grand awards according to the prescribed methods in the exhibition regulations.

8.Fund distribution and award setting

(1) Material and production fees for shortlisted candidates in primary selection:

·????Distribution quota: 60

·????Amount (before tax): 100,000 yuan per person (RMB100,000). Material and production fees will be paid in twice to shortlisted candidates.

·????The first pay will be allocated after the review board finishes the primary selection and announces the shortlisted result with an amount of 50,000 yuan per person (RMB50,000 before tax)

·????The second pay will be allocated after the review board receives the applicant’s small maquette with an amount of 50,000 yuan per person (RMB 50,000 before tax)

(Notes:Material and production fees for shortlisted candidates in primary selection are mainly used to cover the expenses on design revision, small maquette making and transportation, etc. The title sponsor reserves the electronic documents of the 60 shortlisted works in primary selection and the right to use such relevant documents for propagation, publication and exhibition.)

(2) Copyright transfer fees for finalist candidates in secondary selection:

·????Distribution quota: 30

·????Amount (before tax): 150,000 yuan per person (RMB 150,000).

·?Copyright transfer fees and certificates will be allocated on the opening day of the exhibition.

Notes:?Copyright transfer fees are set on the one hand in recognition of the outstanding performance of all artists who are qualified for the secondary selection on “New Image of the Era” — the 2019 China Jingdezhen“Taoxichuan” Public Sculpture International Exhibition, on the other hand to stipulate that they shall transfer the copyrights, small maquettes, 3D digital sourcefiles (referring in particular to the artwork produced by 3D digital technology modeling) and electronic pictures of their works to the title sponsor.Meanwhile, if their works are finally selected to be completed onsite, the artists will be obliged to offer instructions and cooperation with the relevant authorities to carry out onsite completion. Travel expenses involved in this process will be undertaken by the organizing committee. Additional cost on clay model enlargement and production will be negotiated separately.

(3) Award setting and bonuses for onsite completed works:

·????Review coverage: all onsite completed works

·????Review time: June20, 2020

·??Award names and quotas: 1 best work award, 2 best creative awards, 2 best material craftwork awards and 1 most popular award.

·????Bonuses:

★?1 best work award, with a bonus (before tax) of 600,000 yuan per person(RMB 600,000)

★?2 best creative awards, with a bonus ?(before tax) of 500,000 yuan per person (RMB500,000)

★?2 best material craftwork awards, with a bonus (before tax) of 500,000yuan per person (RMB 500,000)

★?1 most popular award with a bonus (before tax) of 300,000 yuan perperson (RMB 300,000). This award is selected by 70% of online votes and 30% of experts’ votes.

·?Bonuses and certificates will be granted on the exhibition opening day for the onsite completed works.

Notes:??Bonuses for the awards above refer to the amount before tax. Winners shall be taxed in accordance with the laws of the relevant countries and regions (including but not limited to the People’s Republic of China). Bonuses and certificates shall be delivered to the author himself or his designated representative in written.If there are more than one authors, bonuses and the certificates shall be delivered to the first person among applicants’ names in the Registration Form or the designated representative in written.

9.Exhibition rules

① Once the registration and submission is done, the applicants shall be considered to fully understand and accept the rules in this Call for Designs. All the submitted works will not be returned. The applicants should keep the originals.

② During the application period, the applicants shall not transfer or authorize their entries to any third party, and may not use them?to participate inother activities identical or similar to this competition.

③ The applicants must confirm that the submitted works have never been transferred or licensed to any individual or institution.

④ The applicants must keep the source documents of their works (electronic source files of the effect pictures). Those who are granted with shortlisted awards and finalist awards shall submit the source documents of their works and sign the corresponding copyright agreements (only for works in secondary selection and onsite completed works). The unsigned person will be considered to automatically waive his qualification for exhibition.

⑤ Artists who are shortlisted in primary selection,secondary selection and onsite completion and granted with relevant awards shall not use their submitted works to participate in other activities identical or similar to this competition.

⑥ Copyright of the submitted works is protected by Chinese law. For artworks that are shortlisted in primary selection, secondary selection and onsite completion and granted with relevant awards, all intellectual property rights other than the right of authorship shall be owned by the organizing committee and the author.

⑦ The organizing committee reserves the right of final interpretation of all documents of this activity including rules in this Call for Designs. Any unfinished matters related to this activity shall be further formulated or interpreted by the organizing committee.

⑧The law of the People’s Republic of China shall apply to this activity.

10.Download URLs for exhibition documents

①?Baidu?Netdisk download link:

https://pan.baidu.com/s/11Vb36-N-3iNkzJLJUWQwiw

(Fetch code: dch4)

② OneDrive download link:

https://1drv.ms/f/s!AsdxQf0fr5zIg2JFftlfOEH4Kd7z

(The information on the above two links is the same. Baidu Netdisk is for Chinese documents, and OneDrive for English documents.)

Documents include:?001 Call for Designs; 002 Registration Form for Primary Selection; 003 Originality Statement; 004 Registration Form for Secondary Selection; 005 Specific Spatial Nodes Introduction Documents (Urban Artworks Planning and Layout Overview,Overall Work Distribution Map, GPS Satellite Image of Overall Work Distribution, Onsite Pictures of 25 Spatial Nodes, Text Descriptions of Spatial Nodes, Environment Videos of Spatial Nodes)

11.Email address for registration and submission

Please send your registration forms and designs to:?sdxx@vip.126.com

Q&A contact number:?+86?798 8511221

Telephone reception time: 9:00 am – 5:00 pm(Beijing time)

12.Delivery address for secondary selection

·?Address:Taoxichuan Wenchuang Block, No. 150 Xinchang West Road, Zhushan District, Jingdezhen City, Jiangxi Province

·?????Postcode: 333000

·?????Recipient: Hu Qiming

·?????Phone: +86 13607980282

Courtesy of the Organizer

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The Perception of “Reality”: The Exhibition “Leandro Erlich: The Confines of the Great Void” Commenced-足球开户系统 http://www.sohbed.com/the-perception-of-reality-the-exhibition-leandro-erlich-the-confines-of-the-great-void-commenced.html http://www.sohbed.com/the-perception-of-reality-the-exhibition-leandro-erlich-the-confines-of-the-great-void-commenced.html#respond Sun, 21 Jul 2019 12:50:36 +0000 http://www.sohbed.com/?p=102037

Leandro Erlich was interviewed by 足球开户系统 ART INFO

Born in 1973, Leandro Erlich now lives and works in Buenos Aires and Montevideo as an artist. Over the last twenty years, he has participated in various exhibitions around the world, and his works are in international private and public collections. Recently, his works have appeared in art exhibitions and events in Asian cities such as Seoul, Tokyo and Shanghai. He has had solo exhibitions in Mori Art Museum, Tokyo, Japan (2017) and HOW Art Museum (2018) Shanghai, China, which attracted numerous visitors to participate in.

Leandro announces himself as a conceptual artist working in the field?between reality and perception. His works are full of imagination and behavior that he intends to break?through?the restrictions of reality by?constantly constructing and deconstructing various scenes. During Leandro’s art career, he has insisted on emphasizing public engagement and discussing topics related to the notion of “site-specific” through his artworks.

View of the Exhibition “Leandro Erlich: The Confines of the Great Void”

From July 11th 2019 through?August 25th?2019, Leandro Erlich has been invited to present his 20 large-scale interactive installations created over the last 25 years at?足球开户系统 Art Museum in Beijing, China. The exhibition entitled as?“Leandro Erlich: The Confines of the Great Void”, as the largest solo exhibition ever?in Leandro’s art career, has occupied the entire space of 足球开户系统 Art Museum. It is also the first time that 足球开户系统 Art Museum has provided a non-Chinese artist with the whole exhibition space to present his works.

The exhibition opening commenced at 4:00 pm on 10th July 2019 in 足球开户系统 Art Museum. Inspired by Chinese cultural identities and elements, new versions of installations specifically developed for this exhibition were unveiled to the public in the opening ceremony.

On the occasion of the opening of “Leandro Erlich: The Confines of the Great Void”, 足球开户系统 ART INFO specially invited artist Leandro Erlich to interpret his art creation while?talking about the methodologies and concepts behind his artworks as the starting point.

Leandro Erlich was interviewed by 足球开户系统 ART INFO

Interview conducted by Emily Weimeng Zhou/足球开户系统 ART INFO

Interviewee: Leandro Erlich

Photo (View of interview and exhibition) by Hu Sichen/足球开户系统 ART INFO

Courtesy of the organizer and the artist, edited by?Emily Weimeng Zhou and Sue/足球开户系统 ART INFO

足球开户系统 ART INFO: I would like to start with a general question regarding your interest in the notion of “reality”. In your previous interview, you mentioned that in your art creation, you would like to challenge the idea of “reality”. You once?said we always take reality for granted. Reality is actually something constructed by ourselves. Can you elaborate on it further? How did the idea start in terms of reconsidering reality that we are immersed in?

Leandro Erlich:?One of my interests is to question the nature of our understanding of reality. As you said, I believe reality is also part of our construction. So what I would like to think is that my rebuilding of spaces that we can associate to our daily life. We can re-examine this context and place ourselves into a new situation that does not only make us consider what we are looking at in terms of art, but also it may evoke something?in our life in those spaces that relate to the artworks.

Leandro Erlich, Staircase (2005), HOW Art Museum, 2018
Mixed media
Dimensions Variable
?David Ye

足球开户系统 ART INFO:?I?notice that “interaction” and “participation” are significant elements in your works. Your works seem to invite spectators to go into or up to something, or to enter the world you construct. In this case, I wonder during the process of art creation, where do you place the audience? Do you regard the public as a crucial element to complete your works?

Leandro Erlich: Yes, absolutely. I would take audiences into consideration from the very beginning of constructing a particular program. Where would the viewers be? What would be the roles of viewers in this project? I think that interaction and participation are not any different from what we do in general in our daily life. We interact in the supermarket. We interact in the subway. All our life is a dynamic experience. In this way, I try to imagine some of my works to allow the audiences to be part of an experience, (which is) different but related to what is our life experience.

Leandro Erlich, Lost Garden (2009), Mori Art Museum, Tokyo, Japan, 2017.
Photo: Hasegawa Kenta, courtesy: Mori Art Museum

Leandro Erlich, Lost Garden (2009), MOLAA Long Beach, California, US, 2017.
Metal structure, bricks, windows, mirrors, fluorescent lights and artificial plants
Variable dimensions
? Jon Endow, courtesy Leandro Erlich Studio

Leandro Erlich, Lost Garden (2009), NoguerasBlanchard Galería, Madrid, Spain, 2013
Metal structure, bricks, windows, mirrors, fluorescent lights and artificial plants
Variable dimensions
? courtesy of NoguerasBlanchard Galería

足球开户系统 ART INFO: Do you mind diversified?comments or feedback from audiences? Have you ever modified or developed your works based on some particular comments or feedback?

Leandro Erlich: I?may have. I am not very aware of how much influence has been produced by a particular comment on my works. But I can tell you that my work sometimes is like a story that is hidden in the space. Thus viewers must transcend and participate in a very spontaneous way to discover this fiction. If audiences are not interested in taking that role, then for me, I must analyse why this didn’t happen.

足球开户系统 ART INFO: It seems that you expect audiences to make their own stories based on your works.

Leandro Erlich: Yes, absolutely.

足球开户系统 ART INFO: I?know that it is the 20th?anniversary of your installation “The Swimming Pool” this year. It is one of your representative works. Can you tell us more about this work? What is the origin and inspiration for making this work? How has this installation been developed over the twenty years?

Leandro Erlich: The first time I created this work was during a fellowship programme for artists in 1999. It (The inspiration of this work) happened when I was granted a fellowship in?Glassell School of Art in Houston. In this case, I created this work within the frame of this fellowship, which has since evolved. In 2001, I was representing Argentina in Venice Biennial by presenting this work, which was constructed as a temporary installation at that time. Later on, it was built as a permanent construction in the 21st Century Museum of Contemporary Art, Kanazawa in Japan. The work has changed in terms of making it technically better, but the concept itself and (the idea of) participation remain the same.

Leandro Erlich, Swimming Pool (2004), 21st Century Museum of Contemporary Art, Kanazawa, 2014
Metal structure, wood, tempered glass, water, and ladder
300 x 600 x 350 cm
?Keizo Kioku, courtesy: 21st Century Museum of Contemporary Art, Kanazawa

足球开户系统 ART INFO:?As is the case with many of your works, I can see for?this work (the Swimming Pool) you?would like to create from?multiple perspectives. Spectators from outside might see a full-size swimming pool, while viewers who enter the inside of the installation could observe the outside world through the “water surface”. What is your consideration in terms of constructing various perspectives, situations or moments within one piece of work?

Leandro Erlich: This is what happens in many works as audiences have multiple perspectives. In this particular case, what happens is that the work itself becomes a vessel for people to interact—not only with the work itself but also with other people. When viewers are looking at this work, they are also looking at other people. They become part of the work. It is fascinating to see someone is greeting someone else—they were waving hands to someone under the water. I think this is a very specific occasion?in this work, which helps to create this interconnectivity between people.

Leandro Erlich, Classroom (2017), Mori Art Museum, Tokyo, Japan, 2017.
Wood, windows, desk, chairs, door, glass, lights
Dimensions variable
Photo: Hasegawa Kenta, courtesy: Mori Art Museum

足球开户系统 ART INFO:?I?think there is a hidden topic behind all questions we discussed just now, which is “site-specific”. You have created many site-specific works apart from other media of artworks, such as “The Classroom” which you made specifically for the exhibition in the Mori Art Museum Japan, which reflects the social context of the falling birth-rate and the population decline. I have learned that you also create a new version of “Building (Batiment)” for this exhibition, which is inspired by the classic shop signs and outer firewalls in Chinatown. Can you talk more about this work?

Leandro Erlich:?Sure. For the “Building” project, I have created this series of installations in several cities in the world. I have always been interested in looking for the local identity of architecture. When I come to Beijing, it is doubtless that I will confront different types of architecture. Many buildings in Beijing, on the one hand, could be very modern to echo the development of the 21st?century, while others could be very traditional at the same time. By thinking about what would be interesting beyond the local identity, I am considering the nature of Chinese identity? I realized that the first time I have gone to China, it was in Chinatown. That was the closest experience (for me to encounter China when I was young).

I?also learned that for the Chinese people who happen to travel aboard, they are very curious about Chinatowns. It is something that is familiar to them yet it is very different from the idea of “China” in their mind. So it is not really (about) where you are. Beijing is the heart of China. It is the cultural and political capital of this country. Nowadays, it?is in the trend with the overcrossing culture, I am a foreigner, a westerner?coming to China, and I am thinking of creating something that speaks about this encounter with different cultures—?the western and Chinese cultures. I am trying to make something smarter than the?archetypes?which are just for tourists.

China is a huge country with different identities, but I think Beijing would be at the heart. It is where all Chinese histories and traditions would be associated. It would be interesting to see a transformed identity back to its pure origin.

足球开户系统 ART INFO: I think it is also interesting to expect a response from the public in Beijing to this work.

Leandro Erlich: Exactly.

Leandro Erlich,?Batiment (2004), Nuit Blanche, Paris, France, 2004.
Digital print on linoleum, lights, iron, wood, and mirror
6?x 8 x 12 m
? Leandro Erlich Studio

Leandro Erlich,?Batiment (2004), Le 104, Paris, France, 2011.
Print, lights, iron, wood, mirror
6 x 8 x 12 m
? Leandro Erlich Studio

New Version of Batiment

足球开户系统 ART INFO:?Let’s go back to your own experience?as an artist. You were born in Argentina, and you then took part in the artist residency programme in Glassell School of Art in Houston. You later went to New York. You have presented?numerous public art or site-specific works in?various?cities, and recently you also held exhibitions in several Asian cities, such as Tokyo and Shanghai, and now you are in Beijing. You start with an Argentinian Artist, and I am curious about that at this moment, how do you identify yourself? Do you think that different cultures and experiences in various countries have somehow facilitated or promoted to your art creation?

Leandro Erlich:?I am delighted to say that my experience was that in general, there is something in my works that is very accessible to a large number of audiences. Also, there is something that can be interesting in terms of intellectual, even philosophical readings on my works. So when audiences everywhere in the world encounter my artworks, their responses are positive in general. I think perception, a significant point in my art creation, is something common to all of us. It does not really matter what culture (you are immersed in). Different cultures have different beliefs and histories, but as a human, our life experience is not so different.

Leandro Erlich, Clouds (2017), Mori Art Museum, Tokyo, Japan, 2017.
Extra clear glass, ceramic digital printed, wooden wenge vitrine, LED lights
199,5 x 160 x 81 cm
Photo: Hasegawa Kenta, courtesy: Mori Art Museum

足球开户系统 ART INFO: Let’s go back to the exhibition itself in the last question. The identity of 足球开户系统M is?a?university-based art museum. What does having a solo exhibition in such an art museum means to your art creation and art career? What do you expect through this exhibition?

Leandro Erlich:?In my case, every time I make an exhibition, (I expect it to) open a dialogue. There is no doubt that I hope people would like my work and come to participate. I think 足球开户系统 would be the best place to start this exhibition. First of all, this is a university for students that are familiar or getting familiar with the art, but at the same time, it is not yet that popular for larger audiences who are not familiar with the art. It is something very specific.

I?feel like maybe this exhibition will bring new audiences to 足球开户系统, and at the same time, this is exactly my dream in terms of the expectation of an audience. These two types of audiences—those who are part of the art world and familiar with the discussions of contemporary art, as well as someone, I don’t know, may have a restaurant, or maybe into some other business, could mix in my exhibition. This encounter happened in my work as an achievement that I would feel proud of.

This exhibition would be during the summer vacation; I hope many students and people could come to see my work. I am not sure if you know that this is the first time that 足球开户系统 Art Museum gives the whole museum for a non-Chinese artist to have a solo exhibition. It is my great honor and it is really amazing.

足球开户系统 ART INFO: Yes, I have learned about that. I hope everything goes well with the exhibition. Thanks for your time. It was a really insightful conversation.

Leandro Erlich: Thank you.

Leandro Erlich, Changing Rooms (2008), Mori Art Museum, Tokyo, Japan, 2017.
Paneling, frames, mirrors, stools, curtains, and lights
Dimensions variable
Photo: Hasegawa Kenta, courtesy: Mori Art Museum

Leandro Erlich, Hairsalon(2017/2019), Mori Art Museum, Tokyo, Japan, 2017.
Wood, mirror, chairs, hairdressing accessories, aluminium strips, lights
Dimensions variable
Photo: Hasegawa Kenta, courtesy: Mori Art Museum

About the Exhibition

Leandro Erlich: The Confines of the Great Void

Opening:?16:00 July 10, 2019

Duration:?July 11 – August 25, 2019

Venue:?足球开户系统 Art Museum

Organizer:?足球开户系统 Art Museum

Supports:?Tianyu Culture Group Co., Ltd.

Galleria Continua

General Adviser:?Fan Di’an

Art Director:?Su Xinping

Curator:?Andrés Duprat, Zhang Zikang

Academic Adviser:?Wang Chunchen

Executive Curator:?Gao Gao, Yi Yue

Curatorial Assistant:?Li Zhiyuan

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The Second Sculpture Projects Pingyao 2019 Reshaping the Historical Significance of this Ancient Town-足球开户系统 http://www.sohbed.com/the-second-sculpture-projects-pingyao-2019-reshaping-the-historical-significance-of-this-ancient-town.html http://www.sohbed.com/the-second-sculpture-projects-pingyao-2019-reshaping-the-historical-significance-of-this-ancient-town.html#respond Wed, 17 Jul 2019 13:32:11 +0000 http://www.sohbed.com/?p=102003

After getting off at Pingyao Railway Station and going directly to the scenic spot of Pingyao, you will find two silver sculptures with modern features at the entrance, which are illuminating by the sunshine. Tourists who want to visit the ancient town are attracted to these sculptures. These two works are sculptures of stainless steel by artists Chen Zhiguang and Ren Zhe. Whether due to the moulding of these works or the selection of materials, they are in sharp contrast with the gray brick buildings of the ancient town. This is the first impression that the 2nd?Sculpture Projects?Pingyao 2019 brings to us. Introduced by them, a dialogue between tradition and modernity has been ushered in.

I. The Historic Dialogue between Sculptures and the Ancient Town

In the early 1980s, in order to meet the needs of urban construction, various localities began to build large-scale constructions and many ancient towns and villages were demolished, so eventually they were completely unrecognizable. According to the overall urban planning of Pingyao County at that?time, the ancient town should have been demolished into a new commercial building. Fortunately, the dismantling event received the attention of professionals and they called for a cessation of the work. Finally, with the support of the National Committee of the Chinese People’s Political Consultative Conference and the Ministry of Culture, the ancient town was repaired and protected. In the 1990s, in order to promote the protection of the ancient town, Pingyao County began to develop their tourism industry. Since then, it worked towards being declared as a world cultural heritage. In December 1997, one town with two temples (Pingyao Ancient Town together with the surrounding Shuanglin Temple and Zhenguo Temple) successfully entered the World Cultural Heritage List. This ancient town?with more than 2,800 years of history has been truly preserved. After subsequent developments, it has even become a sample of the protection of ancient towns, and it was also praised as?“the most complete ancient town in China.”

An ancient town needs to be protected, as the epoch develops, the question is how does traditional culture integrate into modern civilization? On the one hand, the ancient building maintenance of the ancient town emphasizes the old outlook and a new core, it will retain the original style of Pingyao, and also permit the interior design of the buildings to ensure the convenience of people’s lives as much as possible. On the other hand, in order to further develop the culture of the ancient town and activate the cultural heritage, Pingyao focuses on the development of cultural brands. Many cultural events have been held in Pingyao such as the Pingyao International Photography Exhibition (2001); the Spring Festival Folk Culture Brand “I celebrate the Spring Festival in Pingyao” (2006); the large indoor drama experience “Meeting Pingyao Again” (2012, Pingyao County cooperated with the Impression Team led by Director Wang Chaoge); the First Pingyao International Film Exhibition (2017, Pingyao County cooperated with the team led by Director Jia Zhangke). According to the official website of the People’s Government of Pingyao County, during the Dragon Boat Festival in 2019, the ancient town of Pingyao was visited by 115,200 tourists; in 2018, the number of tourists who visited Pingyao County reached 15,4867 million. Obviously, today’s Pingyao has been successfully promoted as a strong tourist town, and domestic and foreign tourists have come to visit and inject vitality into Pingyao.

Based on its own historical and cultural characteristics, in 2018, the Pingyao County Government teamed up with the Mobius Art Foundation to launch the 1st?Sculpture Projects?Pingyao. There are many ancient buildings in Shanxi. Among them, the ancient buildings from the Yuan Dynasty and before the Yuan Dynasty have accounted for nearly 80% of them in the country. The temple architecture also occupied the bulk of them, and the colorful sculptures that remain in the temples are the treasures. According to statistics, there are more than 50,000 precious folk sculptures scattered in Pingyao urban and rural areas, including brick carvings, wood carvings and stone carvings. Pingyao can be taken as a natural “sculpture art paradise.” Similar to the problems faced by the ancient town of Pingyao, these traditional sculptures that were scattered everywhere are activated in the context of modern sculpture art, which is an ancient and modern issue, and an irresistible topic of tradition and modernity. In 2018, the 1st?Sculpture Projects Pingyao, with the theme of “Carving Ancient and Modern”, invited internationally?acclaimed?curator Lorenzo Benedetti (Curator of the National Pavilion of the Netherlands for the 55th?Venice Biennale) to curate one specially invited exhibition and two parallel exhibitions on the themes of “international dialogue”, “Chinese freehand spirit”. It brings together over 100 works by about 70 artists from nearly 20 countries. It is based on traditional sculptures and it is jointly presented with various artistic expressions such as installation, earth art, digital art and new media. Even the entire Pingyao town was introduced to a different kind of scenery.

In July 2019, the 2nd?Sculpture Projects Pingyao 2019 was unveiled?as scheduled, inviting Ulrich Loock (former Director of Art Museums?in Bern and Luzern) and Peng Feng , President of the School of Art, Peking University, Curator of the China Pavilion for the 54th?Venice Biennale who?both?served as the chief curator of the 2nd?Sculpture Projects?Pingyao 2019. Jin Shangyi, Honorary Chairman of the Chinese Artists Association, Shao Dazhen, a well-known art critic, and GOLLIGNON, a member of the French Academy of Culture and Communication, served as general counsel of the 2nd?Sculpture Projects?Pingyao 2019. In an exclusive interview by the press, Mr. Jin Shangyi said that culture is the field that is in most need of innovation. By holding the 2nd?Sculpture Projects??Pingyao, the developments in the cultural tourism industry can be better promoted. There are many works with contemporary elements that have been included in this exhibition, and they are integrated with the ancient town, which have triggered good chemical reactions so that this activity makes great sense.

The 2nd?Sculpture Projects?Pingyao 2019, with the theme of “Inbetween”, Chinese curator Peng Feng believed that this “Inbetween” was not only reflected in the works they exhibited, but also existed in the ancient town of Pingyao. He hopes that the 2nd?Sculpture Projects Pingyao 2019 will bring together sculptors from different countries to the center of Pingyao. Between all the ‘past’ and ‘future’, between ‘here’ and ‘there’, there will be a variety of interpretations. The connections between the relationships come together. Let the art create a historic dialogue among us, the ancient city, and the world, and hopefully that the 2nd?Sculpture Projects?Pingyao 2019 can reshape the historical significance of Pingyao.

Two silver sculptures with modern features at the entrance Ren Zhe, Tower of strength, 2014, Stainless Steel, W210 x D180 x H250cm Guo Gong, Qie-Wen-Stainless Steel C-2, 2017-2018, Stainless Steel122cm×118cm×118cm×2 Zhang Yanzi, Breathable, 2019, Gauze roll, Variable Dimension Zhang Yanzi, Breathable, 2019, Gauze roll, Variable Dimension Wu Daxin, Seven-Storeyed Pagoda, 2018-2019, Stainless steel gear, Motor, 560x400x400cm Wu Daxin, Seven-Storeyed Pagoda, 2018-2019, Stainless steel gear, Motor, 560x400x400cm Chao's borthers, Oriental Red, ceramics, 2015-2017, Variable Dimension Jia Zhuofei, Red Zhaojin, H 400cm Bronze Jamue Plensa, Endless, H 200cm, Stainless Steel, 2015 Tian He Water Series, 2014-2016, Stainless steel,100×100×100cm×3 Wang Kaifang, Besieged Gold Brick City, 2019, Titanium-coated Stainless Steel, 420×400×260cm Wang Kaifang, Besieged Gold Brick City (detail), 2019, Titanium-coated Stainless Steel, 420×400×260cm Zhi Min, White Tiger, 320x120x270cm,Materialstainless ceramics, 2017 Qiang Yong, Filaments, 2016, Glass, Nylon thread, 400cmx50cmx200cm Angela Yuen, Chrono Cross IV, 2018,Plastic Toys, beads, resin, motor, gears, LED lights, H 30 x W 40cm Chen Zhiguang, RUN, 480x480x300cm, Stainless Steel, 2015 Gu Wenda, tian xiang ·forest of stone steles sixth series - a,(ru rocks),2014-2015 Jams Carl, thing' s end 170x110x110cm, cast aluminium, 2019 Shi Liren, Swift Horse, 321x100x255cm,Stainless steel, 2017 Sui Jianguo, Planting Trace 15#、16#、17#, H 150cm, Cast bronze, 2017 Tony Brown, ∞2, 1900x1500x1700mm,(Corten Steel, Wood Base),2019 Yue Minjun, The Tao of Laughter No.2, H 2.1m, Stainless steel, iron, 2012 Zhan Wang, Forms in Flux No.2, 224×142×220cm, Hydrodynamic algorithm, 3D printed scupture, Hand-hammered stainless steel, Blowtorch-Flame S Exhibition Venue-Shuanglin Temple, Zheng Xiaohui, The Cloud near the Horizon, L230cm× W60cm× H150cm, Cast Bronze Exhibition Venue-Shuanglin Temple, Dou Fukun, Landscape-Preface, H 1.7m, ru rocks

II. A Representation of the “Inbetween” State

In the past, sculptures were placed in temples, churches and mausoleums. The sense of ritual and functionality was extremely strong, and believers and followers were the largest audience. It can be said that sculpture was originally public art, but this publicity was limited to specific occasions. The sculptures since the founding of People’s Republic of China are also highly functional, and largely retain the morphological features and thematic features of traditional sculptures. After the reform and opening up, the literary and artistic environment began to relax, and with the introduction of foreign sculptures, the traditional sculpture language began to be enriched and expanded by modernist abstraction, transformation and other artistic languages, while developing into a diversified artistic outlook and inviting the public to participate in the re-construction of its meaning.

The 2nd?Sculpture Projects Pingyao 2019 included more than 600 sculptures from various countries as well as China. Their languages are both traditional and contemporary while their expressive techniques are either biased towards materials, or rely on technology, or focus on sculpture techniques, or focus on conceptual expressions, these works are displayed in the ancient town, or in the transformation of the diesel factory in the ancient town, or placed on the side of the noisy sidewalk, they participate in a rich variety of communication among sculptures.

Guo Gong’s work “Qie-Wen–Stainless Steel?C-2 and C-3” displayed at the entrance of renovation space?in the diesel plant?is a typical work expressed by materials. The artist pays attention to the spiritual attributes of stainless steel and makes a linguistic exploration in stainless steel from the existence and essential relationship of material origin. Guo Gong believes that when people regard stainless steel as a material that mirrors, the properties of material are hidden, but the other is presented. In fact, for stainless steel, the mirror image can be reflected both inside and outside the material, but people see the outside, thus he presents the interior of the stainless steel and the artists turns to be a translator and spokesman of stainless steel.

Zhang Yanzi’s work “Breathable” still continues the theme she has been paying attention to: thinking on life at present. In modern society, food safety, air quality and many other issues have brought about pressure on human survival. How individuals can fight and compromise, and finally live comfortably? Borrowing the concept of “breathing”, the artist chose medical gauze as a medium, and the rolls of gauze were arranged in an acrylic container, unexpectedly expressing a feeling of depression. In this case, the gauze as a material loses its meaning. The beautiful landscape that was originally drawn on the gauze is ignored by the viewer and projected into real life. This is also a kind of oppressive living environment that we face.

Sui Jianguo’s work “Planting Trace15#, 16#, 17#” is a work combined with 3D printing technology. When the artist kneaded the plaster, the pieces were squeezed out from the cracks in the fingers. The artist discovered the splendour of these fragments under a magnifying glass, thus he scanned them and then exported them with 3D printing technology. This technique broke the limitation of detail reduction in the process of magnifying the mud, which made the surface texture of the sculpture work unprecedentedly detailed. Wu Daxin’s work “Seven-Storeyed Pagoda” was inspired by the top of the towers of two ancient stone towers in Quanzhou. For the Quanzhou locals, the two ancient towers represent both the sacred structure and the secular function. They are both religious buildings and a beacon for sailors to navigate the port. At the exhibition space, the motor started to drive more than 500 stainless steel gears to rotate together to create a dynamic floating scene. The exposed machinery is displayed in a space transformed from the past diesel engine factory, and it seems to imply a life-winding rotation.

The work of the Chao’s?brothers “Oriental Red” is vivid and realistic. The front of the car is originally made of steel, but they use the fragile material of ceramic to dispel the steel itself and bring the temperature of the memory to an “old object.” Jia Zhuofei used a traditional sculpture technique to create a group of statues of Liu Zhidan, Xie Zichang, and Xi Zhongxun, he named it “Red Zhaojin.” In the 1930s, Liu Zhidan, Xie Zichang, Xi Zhongxun and other older generation proletarian revolutionaries at the southern end of the Qiaoshan Mountains at the junction of Shaanxi and Gansu, Zhaojin, created the first mountainous revolutionary base in the northwest, the Shaanxi-Gansu revolutionary base. This has become the cradle of the Northwest Revolution and has also created the great “Nanliang Spirit.”

Jaume Plensa’s work, “Endless”, is made of stainless steel and creates a figure that tucks his knees in. The hollowed-out characters are welded with languages of different countries. We cannot find regular patterns from these words but they are brought together in the artist’s work into a conformity that constitutes a united form. We come from different places, speak different languages, and gather into human history in the collision of each other. Tian He’s work “Water” is an abstract sculpture, and the seemingly lack of artificial sculpture skills carries more individualistic thinking. The artist intercepts the naturally flowing water that is artificially cut into cubes of various sizes and proportions, which implies that in daily life, people rely on self-will to claim everything. The artist hopes that the viewer will see the sky, nature and self in the stainless steel cutting mirror of the work, and realize that we are also a part of nature, so as to protect the natural environment.

Wang Kaifang’s new work “Besieged Gold Brick City” is a bright and dazzling space composed of five gold bricks. The audience walks through it and takes selfies at various angles to interact with it. In this space, both entertainment and danger are combined. Like the space where we live, the city, nature and people are divided into pieces and mixed together. We are decorated in the golden space and we make ourselves beautiful, but in real life, joyful people feel gradually?lost and re-explore the direction. “Besieged Gold Brick City”?has become a reflection of our real life. People outside the city want to come in, and people in the city want to go out.

Actually, the above classification of works is often inclined to be a subjective opinion, because it is not difficult for us to find artists who pay attention to material expression, who also create conceptual expressions, such as Zhi Min’s work “Four Gods of Celestial Phenomena—White Tiger” and Qiang Yong’s work “Filaments” and so on. This is also why the exhibition is not presented in a classified way. Peng Feng frankly said in an exclusive interview with 足球开户系统 ART INFO. The purpose of such a curative style is precisely the appearance of an “inbetween” state. “Inbetween” is a unique idea in Chinese philosophy and aesthetics. It is reflected in different degrees in philosophical thoughts such as Confucianism, Taoism, Buddhism, and other art theories such as poetry, music, and painting. “The beauty of painting is between the likeness and the unlikeness” which has become the famous saying of Chinese aesthetics. Regrettably, in the modern transformation process of Chinese academic language, “inbetween”, like many other important concepts, has not continued, and the rich and profound thoughts related to “inbetween” have gradually been forgotten.

“Inbetween” is not just reflected “between” the tradition and the modernity, but it also reflected between the East and the West. The?sculpture projects?invite sculptors from all over the world to participate in the exhibition, and it is curated by European and Chinese curators, intended to reflect the artistic and academic dialogue between the East and the West. Hereby it is necessary to propose that the 2nd?Sculpture Projects?Pingyao 2019 will include the “International Youth Sculpture Promotion Program” on the basis of the first session. Pingyao Shuanglin Temple is used as the exhibition venue for this session, which is known as the “treasure house of oriental colorful sculpture”. It will provide support to the growth of young sculptors and it will also strengthen the dialogue between tradition and modernity, the East and the West.

Text by Yang Zhonghui, translated and edited by Sue/足球开户系统 ART INFO

Photo Courtesy of the Organizer

Artists:

Zhang Zhaoying, Luo Peng, Xia Yang, Wang Liwei, Heidi Voet, Oliver Herring, Jin Shi, Tian He, Li Mengyuan, Wang Yi, Xiang Yang. Gu Wenda, Ren Tianjin, Chen Zhiguang, Jon Isherwood, Xie Xiaoze, Jaume Plensa, Ren Hongwei, Wu Daxin, Wang Kaifang, Ren Zhe, Li Zi, Tian Xiaolei, Qiang Yong, Zheng Lu, Cang Xin, Qin Ga, Wu Didi, Wang Yinglu, Chen Xi, Guo Gong, Wang Huanqing, Zhang Yanzi, He Xiangyu, Gurjinder Kaur & Bharat Singh, Li Hongwei, Yue Minjun, Thomas Eller, Tony Brown, Zhi Min, Ouyang Sulong, Su Lingzhi, Shi Liren, Zhan Wang, Yang Qiong, Chao’s brothers, Chen Wenling, Li Tao, Li Zhen, Sui Jianguo, Jams Carl, Li He, Richard Deacon

Artists participating in the International Youth Sculpture Promotion Program

Zhao Qin, Wei Dong, Dou Fukun, Zheng Xiaohui, Qian Liang, Wang Jiang, Liu Xinwei, Su Lingzhi, Meng Xiangke, Wen Xichao

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A+ Contemporary presents a group exhibition “Space/Reflection” in Shanghai-足球开户系统 http://www.sohbed.com/a-contemporary-presents-a-group-exhibition-space-reflection-in-shanghai.html http://www.sohbed.com/a-contemporary-presents-a-group-exhibition-space-reflection-in-shanghai.html#respond Wed, 17 Jul 2019 11:25:19 +0000 http://www.sohbed.com/?p=101990

A+ Contemporary is pleased to participate in the second edition of Condo Shanghai on July 13, 2019, teamed up with 1301PE from Los Angeles and Springsteen from Baltimore to present a group exhibition “Space/Reflection”. The artists – Ann Veronica Janssens, Diana Thater, Pae White, SUPERFLEX from 1301PE, Alex Ito, Benjamin Horns, Sydney Shen from Springsteen, and two Chinese artists Chen Wei and Xia Tao presented by A+Contemporary – share the gallery space and present a series of works in the medium of painting, installation, video and mural, etc. Through this collaborative platform, the show displays a part of various perspectives of contemporary life.

Regardless of geography and time, people often perceive the outside world through their own sensory experience, and the artist’s imaginative creation of materials and media also opens up a new vision and inspires people’s sensory experience. Ann Veronica Janssens uses abstract colors, mirrors and light to explore the plasticity of materials in a way that is close to scientific research, infiltrating light into established architectural spaces and challenging the stability of the original space. Diana Thater’s video installation focuses on ecological issues such as species extinction and environmental disasters caused by the Chernobyl nuclear accident. Atypical perspectives, dramatic proportions, and uncommon color spectrum provide viewers with another dimension of perception.

Alex Ito, Man Models Man, 2016, Oil on canvas with aluminum frame, 127.3 x 76.5 cm Ann Veronica Janssens, Scrub Berlin 2, 2002, Single channel projection, 5’30” Benjamin Horns, Driver 3, 2019, Oil on canvas, 40.6 x 50.8 cm Chen Wei, The Sleeper 2019.06.18,2019, Single channel video, color, sound, 12’41’’ Pae White, Bugz + Drugs, Command – R, 2019, Cotton, polyester and lurex, 243.8 x 304.8 cm Xia Tao, Housing Estate (II), 2019, Oriented strand board, plywood, wood, stainless screws, 27×24×58 cm

Pae White’s tapestry uses unconventional weaving materials combined with specifically programmed software to create a conceptual work that combines decorative style and technical elements, blurring the boundaries between fine art and applied art. SUPERFLEX projects examine the effects of the contemporary economic systems and develop tools to be used in constructive transformations. This mural project functions as a replicable model made available through instructions, exposing contemporary consciousness under global consumerism.

Alex Ito adds a playful two-sided character to his work through the use of text. They are deeply influenced by the modern design movement with a reflection of its consequences. This results in his objects that fall in the middle of ornaments and historical relics. Benjamin Horns’ drivers in the?driver’s side mirrors are captured in a semi-public and semi-private space. Their slightly blurred and distorted faces are psychological portraits that reflects a contemporary state of alienation under constant surveillance. Sydney Shen’s installation presents ordinary materials in a strange way and labelled with a bureaucratic nameplate. She deliberately abandons the logic of language to create semantic confusion and void, revealing its absurdity.

Chen Wei’s project consists of three parts, each examines topics on architecture, plant and sleep state in a method of sociological studies. His projects focus on each subjects’ additional metaphors and meanings produced within the social structure. Xia Tao’s series works makes up as sculptures, exploring the variation of the core concept in contemporary urban life – the “house”. The structures are formed with ready-mades and waste materials which are deviated from original time and space, rendered with a new context.

Facing the constant changes in the contemporary natural environment and social ecology in this age we live in, each of the artists reflects and responses to the issues of their own and those around them. Through this cross-regional cooperation, the exhibition presents their different focus and interpretation. The exhibition will be on view until August 30, 2019.

About the exhibition

Dates:?Jul 13, 2019 – Aug 30, 2019

Venue:?A+ Contemporary

Courtesy of the artists and?A+ Contemporary, for further information please visit?http://apluscontemporary.org.?

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Boers-Li Gallery presents “Xing Danwen: Prescription for Life” in Beijing-足球开户系统 http://www.sohbed.com/boers-li-gallery-presents-xing-danwen-prescription-for-life-in-beijing.html http://www.sohbed.com/boers-li-gallery-presents-xing-danwen-prescription-for-life-in-beijing.html#respond Wed, 17 Jul 2019 10:36:52 +0000 http://www.sohbed.com/?p=101984

Boers-Li Gallery is delighted to present Xing Danwen’s solo exhibition, “Prescription for Life”, opening on July 20, 2019. The exhibition will include the artist’s most recent performance based videowork and installations.

Xing Danwen, with an education in painting, explored the medium of photography as early as the end of the 1980s, whose earlier career focused on journalistic photography, and is particularlly known for documenting various artists and events domestically and performance art mainly in Beijing East Village throughout the 1990s. Her art practice addresses issues ranging from social conditions, female identity, the impact of urbanization on individuals and etc.

In recent years, Xing Danwen’s interest rests on the tenuous relationship between urban space and private space, and the individual’s existence in such environments. With the rapid pace of urbanization, the improvements on living conditions, material abundance, inflated passion for consumption, have invariably offered possibilities and pursuits, while they’ve also conflated people’s desires. Thus, how much can boundless desire be fulfilled and pursued? Although these enriching circumstances might have introduced wonders and happiness, they’ve also placed urbanites into various kinds of predicaments. “How can we lead better lives?” becomes the focus of our everyday life, which is also symptomatic of urban living.

Eponymous to the title of the exhibition, the 12 mins performance video zooms the camera lens on the artist, whose actions progressed from rationing pills and capsules out of numerous unlabeled bottles onto small dishes, to taking the medicine at a timely fashion, to eventually devouring them compulsively with water to the point of retching and gagging. The pills and capsules here are not to imply curing diseases, instead, they represent people’s overloaded desire and whether they have the capacity to bear it. Through the discomfort of the artist’s physical reactions to devouring these pills and capsules, an individual is tormented from knowing the possibility of attaining an ideal, her conflated desire and determination in achieving it, as well as the compromises made in the process, are made apparent. Furthermore, the video points to an embedded ideal: how can one live a good and lasting life. Hence these pills and capsules injected are not only meant to satisfy its essential function of alleviating symptoms and curing diseases but also as elixirs that would satisfy all other wants and desires. Ultimately, the artist’s performance driven by such urban illusion addresses the denial of aging and the fear of confronting the issues on life and death.

Stemming from her previous works Urban Fiction (2004 – present) and Wall House (2007), that sampled objective perspectives – where the images on the scenarios and the individuals living in urban environments are captured at a critical distance, then the installations together with the performance based video, invite the viewers to grasp an up-close and personal experience of interior spaces where the artist’s subtle interventions have been left on the objects and the setups. Xing Danwen captures her own shadow as a mark of alienation these isolated personal spaces and translates them onto large dimensional handicraft carpets (Untitled, 2019) to conjure a state of being and mood of urban dwellers. Furthermore, the lighting of the interior space, generating a delirious artificiality to enhance the illusory, or even at times the fictitious effects from the widespread disconnect between the individual and his/her physical and social environments.

Xing Danwen, born in Xi’an, China, currently lives and works in Beijing. She received her BFA from the Central Academy of Fine Arts, Beijing, China in 1992, and completed her MFA from the School of Visual Arts, New York, in 2001. Xing Danwen, actively engaged in the international art scene, her works have always been on a cutting edge position in contemporary Chinese art. As an outstanding photographer and new media female artist, her works are mentioned in renowned academic journals and by respectable art critics, as part of the academic discourse in the international art world. Her works are included in important volumes about contemporary art, and have been shown in various international biennales and triennales, such as the Sydney Biennale, Whitney Biennale, Yokohama Triennale, The Metropolitan Museum of Art, International Center for Photography, J. Getty Art Museum, Centre George Pompidou, Victoria and Albert Museum, the Boijmans Museum in Rotterdam and etc. In addition, her works have been collected by these aforementioned institutions, as well as by notable private collections such as the Uli Sigg collection, Swiss Bank, Foundation Nationale Art Collection. In 2017, she successfully held a retrospective at Beijing’s Red Brick Museum. In 2018, she was awarded with the Silver trophy for the Best Artist of the Year by AAC. In the fall of 2019, the acclaimed international publication Prestel plans to publish a catalog comprised of the artist’s 25 years of artistic practice.

About the exhibition

Dates:?Jul 20, 2019 – Sep 1, 2019

Venue:?Boers-Li Gallery

Courtesy of the artist and?Boers-Li Gallery, for further information please visit?www.boersligallery.com.

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Do Artists Need Critics?-足球开户系统 http://www.sohbed.com/do-artists-need-critics.html http://www.sohbed.com/do-artists-need-critics.html#respond Mon, 15 Jul 2019 02:22:55 +0000 http://www.sohbed.com/?p=101946

At 6:30 pm on 24th?June, 2019, the symposium?themed on?“Do Artists Need Critics?”, as one of a series of events of the sixth edition of International?Awards?for?Art?Criticism (abbr. IAAC), was held in the auditorium of the No.7 Teaching Building at 足球开户系统. The symposium was co-organized by the School of Humanities at 足球开户系统 and Shanghai Minsheng Art Museum. Gao Minglu, critic, curator and Professor of University of Pittsburgh, Professor Sui Jianguo, the former Director of the Department of Sculpture at the School of Fine Art in 足球开户系统, Qiu Zhijie, Dean of the School of Experimental Art at 足球开户系统 and Professor of the School of Intermedia Art at China Academy of Art, Philip Tinari, Director of UCCA Center for Contemporary Art, Gao Peng, Director of Today Art Museum, were invited to attend the symposium. Professor Shao Yiyang, Vice Dean of the School of Humanities at 足球开户系统, hosted the event. Gan Zhiyi, a member of International?Awards?for?Art?Criticism organizing committee and the Director of Shanghai Minsheng Art Museum, Ling Min, Associate Professor in art history at Fine Arts Academy of?Shanghai University, also participated the symposium.

Professor Shao Yiyang, Vice Dean of the School of Humanities at 足球开户系统, hosted the event. Gan Zhiyi, a member of International?Awards?for?Art?Criticism organizing committee and the Director of Shanghai Minsheng Art Museum, introduced the prize information Gao Minglu, critic, curator and Professor of University of Pittsburgh Professor Sui Jianguo, the former Director of the Department of Sculpture at the School of Fine Art in 足球开户系统 Qiu Zhijie, Dean of the School of Experimental Art at 足球开户系统 and Professor of the School of Intermedia Art at China Academy of Art Philip Tinari, Director of UCCA Center for Contemporary Art Gao Peng, Director of Today Art Museum View of the Seminar The Group Photo of Honored Guests View of the Seminar View of the Seminar

After a general introduction of IAAC by Gan Zhiyi, Professor Shao Yiyang started the conversation from the point of crisis confronted by art criticism. The status of art criticism used to have?a glorious period in history; however, during the last twenty years, the phenomenon of the decline of art criticism cannot be ignored. Specifically, the speaking right of critics which has been robbed of by curators; moreover, the standards set by critics are constantly challenging as they are by unconstrained artists. Under the double impact of commercial culture and ideology, the “seriousness” of art criticism has also been questioned, and critics are easily degraded into propagators. Due to the lack of an art criticism system, art criticism in China is confronting crisis both in theory and in a practical situation. In this case, questions such as “Do artists need art criticism?” and “What is the direction of art criticism in the future?”, are worth considering.

Professor Gao Minglu believes that the relationship between artists and critics should be practical and in a state of natural development. There is no alleged crisis of art criticism. In the 1970s, the concepts related to “the death/end of…” appeared in western academia. Instead of being plagued by these concepts, focus is placed on the current situation and considering solutions to practical issues are more significant. Artists need to dig into the way to create works with the identity of originality and consensus, while critics should devote themselves to theoretical studies. The nature of criticism should be triggered by sincere feelings. By doing so, the problem of death and crisis would cease to exist. Professor Gao Minglu suggested that emerging critics should start with practices and develop the ability of independent thinking instead of dogmatically chasing after the international trend.

“What is useful to artists is the previous criticism.” Professor Sui Jianguo holds the view that art creation is an independent status. Thus pain and ecstasy are only personal feelings that cannot be transferred. Critics can comment on the quality of artworks, but they cannot be shared with the process of art creation. It is necessary for critics to comment on the relationship between the active young generation of artists and the previous generation artists. “In this era, perhaps great works have already been created, but no one has reflected on them. The possibility might be there.” Professor Sui Jianguo encouraged young artists by saying so.

Since the end of the 1980s, postmodernism has promoted diversified values, which enables art criticism to be multiple and deconstructs all core values in art. In this case, the horizon of artists and art critics has been increasingly?broader. Does the intimate relationship between artists and art critics still exist? Professor Qiu Zhijie holds the view that the identity of both artists and art critics should be diversified. Their relationship ought to rely on whether an individual artist needs art criticism as well as if the individual critic’s ideas are worth considering. It cannot be generalized. Besides, the limit of identity may not be important as well. In ancient China, the transformation of identity was organic. In this view, it is not necessary to divide our identity based on the capitalist division of labor. Qiu Zhijie holds the viewpoint that the solution to the crisis of art criticism is to raise the remuneration for critics rather than require critics to have noble and independent characters based on moral standards. “When a critic’s income reaches the level of a decent middle class person, he or she is able to develop an independent identity; thus the academic level will naturally be improved.?“

Philip Tinari believes that the role of art criticism lies in channelling. Instead of judging artworks’ quality or directing future trends, it is more important for art criticism to establish a value standard. As for the relationship between art critics and curators, Philip Tinari believes critics and curators use different media to express themselves – critics use words to write while curators use exhibitions to narrate. The nature of both critics and curators’ expressions are related to the concept of delivering comments and rhetoric.

Gao Peng reflected on art criticism through three perspectives, namely, values, the art ecosystem and information channels.?Both?the Chinese value or?the Western value are dissimilar to each other.?The way of writing Western art criticism is in conflict with China’s poetic genes rooted in the philosophies of Taoism to some extent. In this case, Chinese critics who usually have questions in terms of confronting the criticism system using Western discourse. Besides, there is an ecosystem in the art industry, which is composed of museums, art museums, galleries, art fairs, auctions, art criticism, art historians and artists. Can all these components within this ecosystem could be linked up by a shared value? How is it possible to construct a sustainable ecosystem for art? All these questions are required to be reflected?on. The cross-border discussions among?critics, curators and artists conducted?today, should be established upon the understanding of the entire art ecosystem and the understanding of their own works.

Furthermore, the explosive expansion of information channels can be a significant reason that divides the art criticism at present from the past. In the 1980s, due to limited information channels, qualified art criticism could only be published in certain magazines, which was easily accessible for the public. However, nowadays, everyone can be a critic. With the expansion of information channels, the efficiency of message acceptance is getting increasingly lower. Gao Peng encouraged emerging writers by saying that China is experiencing the reconstruction of values. By observing and reflecting on issues in society and reality, and keeping it desirable to express, the restart of art criticism can be expected.

After the speech section, participants debated various opinions. From Gao Minglu’s perspective, although the idea of “raising?the remuneration for critics” proposed by Qiu Zhijie, is important, the core of this problem should lie in the academic level. Gao Minglu reiterated the significance of independent thinking. He elaborated that an?independent thinking is a capability that requires diligence. Qiu Zhijie responded that the pure pursuit of the truth requires a premise from the aristocracy. Nowadays, the social system should take on a role to guarantee that critics are properly supported as a knowledge community.

As for the identities of critics, curators and artists, both Gao Minglu and Qiu Zhijie agreed not to follow the division of labor system, but to transform organically like in ancient China. Shao Yiyang pointed out that a direct comparison between contemporary and ancient society cannot be made. She utilized Deleuze’s notion of “Organs without Bodies” to describe contemporary society in which various categories are open. Although it is similar to ancient society in structure, it is still difficult to compare to the art criticism system with a modern spirit due to the classic form of the ancient era.

In the following Q&A session, participants responded to questions proposed by the audience. For example, one audience questioned what kinds of critics do artists need? While others proposed questions in terms of the status of criticism in art museums as well as the direction of art criticism. Philip Tinari believes that different critics need to make various criticisms in their different periods, and he elaborated on his discussion regarding criticism as a channel furthermore. Qiu Zhijie holds the view that worthy art criticisms ought to answer the question of the quality of an artwork, instead of persisting in inquiring as to the meaning of it. He believes that artists are in need of a critic who can provide suggestions to them rather than an interpreter. Shao Yiyang responded to Qiu Zhijie’s viewpoint by pointing out that art critics should avoid pointing fingers at artists. Nowadays, most conscientious art critics are interpreters. An interpretation with a high value can be eventually proved by history.

Philip Tinari and Gao Peng, as art institution directors, introduced the status of academic research within art museums. Philip Tinari pointed out that the inclusion of research functions within the institution is a process of rational evolution of art museums. Gao Peng has introduced that the Today Art Museum is a typical Chinese art museum that is grouped step by step within these years. Based on experiences of development, the solution to explore academic research is to hold the internal academic conferences every three months, to organize exhibitions that can represent the image of Today Art Museum, and to invite external curators and critics to attend symposiums and other academic events.

At the end of the symposium, participating guests summarized their opinions respectively. Sui Jianguo agreed?to?Philip Tinari’s idea in terms of criticism as a channel, while Philip Tinari believes that art critics’ responsibility is to convey concepts to the public and encourage the increasing number of people to enjoy a diversified life. Gao Peng emphasized the value of art criticism in terms of reconstructing the social value and independent thinking. Gao Minglu suggested critics remain curious?about current popular cultures and persist in a personal insistence as well. Qiu Zhijie took Effendi as an example to reinforce his discussion. Last but not least, Shao Yiyang summarized that artists do not need to consider art critics too much, while art critics should not merely focus on artists and galleries. “We all should have ambitious goals to expand our fields and horizons.”

Text by Xu Zijun,?Photo by Hu Sichen/足球开户系统 ART INFO

Translated by Emily Weimeng Zhou and edited by Sue/足球开户系统 ART INFO

Courtesy of the organizer

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PIFO Gallery presents “Being Sharp: A Group Exhibition of Figurative Art” in Beijing-足球开户系统 http://www.sohbed.com/pifo-gallery-presents-being-sharp-a-group-exhibition-of-figurative-art-in-beijing.html http://www.sohbed.com/pifo-gallery-presents-being-sharp-a-group-exhibition-of-figurative-art-in-beijing.html#respond Mon, 15 Jul 2019 00:39:57 +0000 http://www.sohbed.com/?p=101962

PIFO Gallery is now pleased to present?Being Sharp: A Group Exhibition of Figurative Art. The modernity of Chinese art in the 20th century is precisely the reason for figurative art to locate itself in the mainstream of contemporary painting in China. After undergoing the maturing period of naturalism and realism intertwined, the figurative painting originated from traditional painting has been more international and more contemporary at the same time. From a perspective of raising questions, this exhibition brings together a variety of professionally trained artists including Yin Chaoyang, Ni Jun, Song Kun, Kang Haitao, Zhang Jian, Zhou Wenzhong, Qi Xing, Chen Zhuo and Jiang Shanchun. With a shared academic background of these individuals, the exhibition intends to further discuss the possibilities of figurative painting at present.

CHEN Zhuo Moon Melancholia 2017 Oil on canvas 80x140cm CHEN Zhuo The Magic of Moon 2019 Oil on canvas 45x40cm JIANG Shanchun Fan 2019 Oil on canvas D. 60cm JIANG Shanchun Ran 2019 Oil on canvas D.60cm KANG Haitao Hidden Confluence 2017-2018 Acrylic, ink on paperboard 175x252cm KANG Haitao White Wave 2006 Oil on paper 77x106cm NI Jun Les Miserables 2019 Oil on canvas 80x60cm NI Jun Three Conches 2019 Oil on canvas 60x80cm QI Xing All His Life 2009-2014 Oil on canvas 150x180cm QI Xing Mr. Punk 2017 Oil on canvas 250x250cm SONG Kun No-No-Keep in Silence No. 1 2018 Painting installation, oil on canvas, laser belt, acrylic cover 40x30cm SONG Kun No-No-Keep in Silence No. 2 2018 Painting installation, oil on canvas, laser belt, acrylic cover 60x45cm YIN Chaoyang Valley 2019 Oil on canvas 280x180cm YIN Chaoyang White Mountain 2019 Oil on canvas 50x70cm ZHANG Jian Houhai Series 2011 Oil on canvas 250x200cm ZHOU Wenzhong Bow 2017 Oil on canvas 190x250cm ZHOU Wenzhong The Unbidden Guest 2017 Oil on canvas 180x210cm Poster

The “figurative art” simply remains a complex concept in the history of Chinese art, although it underwent a distinctive process different from the West. Not aiming to be opposed to “abstract art”, the creation of the concept was intended to distinguish itself from the contemporary art which has no longer focused on representation and figuration, also to distance itself from the socialist realism that is entangled with the legitimacy of a unitary style. In fact, Contemporary painting in China has existed and evolved in such a dilemma from the very beginning. In other words, the majority of artists would not immediately withdraw from their realist art and aesthetic education on one hand; they expect to find out more “international” artistic language and form on the basis of their education on the other hand. Therefore, figurative painting has turned a neutral practical path that respects the local artistic environment and social circumstances.

The “figurative” qualities of contemporary Chinese painting serve as a result of the “naturalism” being gradually separated from the “realism”. Like its Western counterparts, it is another negative and defensive concept applied to organize and deal with the “endgame” of the crises of radicalism. However, it suggests a sense of vigilance against the “international trends” and returning to its own artistic tradition over generations. In this regard, the concept itself doesn’t count so much, what really matters is how we handle the shared experience. We might start our discussion about the inevitable experience and history from “being figurative” if a more precisely adequate term cannot be coined for the time being.

This exhibition features artists of diverse styles and approaches. For instance, Yin Chaoyang, Kang Haitao and Zhang Jian connected the external landscape to the emotions and sentiments; they also transformed the realistic landscapes into a spiritual realm by joining and uniting the physical experiences in the process of painting. Based on his experience in the history of painting, Ni Jun incorporated his interest in en plein air? in the 19th century into the real-life subject matters and spirituality. Song Kun and Chen Zhuo professionally applied the realist style and techniques to the symbolic figures and the relations between figures and images, leading to a transcendental spirituality. Zhou Wenzhong constructed an unrealistic space using identifiable figuration, turning the images into a field of performance and theatre. Qi Xing and Jiang Shanchun depicted the realistic situations in an exquisitely detailed manner, enabling the viewers to observe every unnatural detail thanks to their mastery of an extremely naturalistic vision and methodology. Even though their work and practice do not intend to become a trend or a role model, all of them suggest a sense of open-mindedness and recognition of both individual and collective experiences. This may be the very way of manifesting a true sense of contemporariness for the time being.

About the exhibition

Dates:?JULY 18 – SEPTEMBER 8, 2019

Venue:?PIFO Gallery

Artists:?Yin Chaoyang, Ni Jun, Song Kun, Kang Haitao, Zhang Jian, Zhou Wenzhong, Qi Xing, Chen Zhuo, Jiang Shanchun

Courtesy of the artists and PIFO Gallery, for further information please visit?https://pifo.cn.?

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Tang Contemporary Art announces Qin Ga’s solo show featuring three important works-足球开户系统 http://www.sohbed.com/tang-contemporary-art-announces-qin-gas-solo-show-featuring-three-important-works.html http://www.sohbed.com/tang-contemporary-art-announces-qin-gas-solo-show-featuring-three-important-works.html#respond Fri, 12 Jul 2019 16:28:59 +0000 http://www.sohbed.com/?p=101941

Tang Contemporary Art is pleased to announce the opening of Qin Ga, a solo exhibition for Qin Ga in the gallery’s first Beijing space, on July 13, 2019. Curated by Cui Cancan, the exhibition will be Qin Ga’s most important solo presentation in nearly ten years. The exhibition will showcase three important works: Where Are You Going, Belief, and Enclosure Project. Qin Ga’s work begins with sculpture, but also incorporates videos, performances, photographs, social surveys, and institutions. The combination of several mediums presents the artist’s thoughts about the nomadic cultural philosophy and the world it has constructed, as well as the concepts of sovereignty and boundaries in modern society.

Where Are You Going?
In 1998, Qin Ga presented Corridor-Diffusionat a three-person exhibition. “Horse heads” were mounted on both sides of the corridor. The space was full of primitive energy and mysterious ceremonies. This power stemmed from the place where Qin Ga grew up—the plains several hundred kilometers outside of Beijing. Here, ethnic totems and Mongolian blood and identity made their first appearance. At that time, people outside the plains did not know that the plains were shrinking and that nomadic lifestyles were changing. We did not know the difference between marshy and arid plains, and we might have thought that plains, wastelands, and deserts existed in different worlds, but they were actually very close to one another in nature. Now, water and grass are retreating, and desertification is spreading.

Today, corridor and diffusion, seemingly conflicting elements, may be part of a strategy that Qin Ga has continued to use, or a fissure in real existence that seduces people into endless visions of spatial relationships. Diffusion constantly appears in Qin Ga’s later artistic practice. He begins with sculpture, but he also employs videos, performances, photographs, social surveys, and organizations. The combined use of multiple methods does not prevent sculpture from appearing often in Qin Ga’s work; it is simply that he is no longer restrained by the language of traditional sculpture, and he returns sculpture to its most basic function—recording ephemeral situations in classic or symbolic moments. These moments are immensely important to Qin Ga’s spiritual journey. His work does not seem settled; it is comprised of countless temporary, flowing moments. Migrating on the plains, the herders have moved in search of grass and water for thousands of years.

In his two decades of artistic practice, Qin Ga’s work has undergone three changes. In1998, Qin Ga began to spend more time exploring individuals’ physical circumstances, the violence of reality and the taboos of society, cheap bodies, and even the dissolution of materiality. Freeze and Disinfect became important around the year 2000, bringing Qin Gato prominence in Chinese avant-garde art. However, these works still unfolded against the background of urban consumerism. In 2002, The Miniature Long March represented an escape from the urban context and collective malaise, but the project also brought him wider recognition and has been highlighted in many Chinese contemporary art exhibitions overseas. I have called it an escape, but it might be better to understand it as a search for identity. He asked: Where do individuals come from? What unique imprints do they carry? Plan for Disposing of My Remains in Bricks was an important transition, like a symbol of rebirth. Qin Ga planned to turn his bones into several rectangular bricks after his
death. The topic of death, which was usually taboo in agricultural society, obtained new meaning in Qin Ga’s nomadic lineage.

Life comes from nature, and death embraces a return to nature. All things in heaven and earth move in a cycle of life and death, guiding the (universal) individuals within Qin Ga’s work toward a new awareness of life and a new cultural identification. Later, the animals, culture, and philosophy of the Mongolian people appeared often in Honor, Hurray! Hurray! Hurray!, Territory, and Forest, becoming notable artistic languages and conceptual traits within Qin Ga’s work that made it unique in the Chinese contemporary art scene. Finding these imprints became an awakening of Qin Ga’s self-awareness. Birthmarks are unavoidable personal realities and nomadism is a special way of understanding and conceptualizing the world.

The shifting sands on the wasteland fill the sky. Young camels, horses, cattle, and sheep, some scattered remains, and different traces of space and time overlap and layer with various scenes from Qin Ga’s past work. Where Are You Going is a compilation of the various elements in Qin Ga’s twenty years of artistic practice, a combination of sculptures, performances, videos, and photographs, but it might be better to see the piece as an inquiry into the predicament of modern nomads. With the desert’s constant encroachment on the plains, pastoral songs have become sandstorms and only incomplete memories are left in these barely inhabited areas. When pastures and water sources, basic resources on which the herders rely, deteriorate or disappear, desiccated corpses and skeletons are the only evidence of the fact that nomads once existed.

Stone breakers brandishing stone axes in Quyang, Hebei, attempted to polish these animal sculptures; this was a finishing step, but it was also a conceptual strategy formulated by the artist. Workers that were imprinted by agriculture used cutting techniques from modern industry to refine sculptures of these five animals that have disappeared from nomadic civilization. The imprecise modeling appears correct but is just slightly off; the mismatch of agricultural and industrial civilization has become a contradiction in Qin Ga’s work. The identities and skills of agriculture are diametrically opposed to nomadic realities, and the cause-and-effect relationships between the two induce endless imagination in the viewer. Industrial exhaust fans imitate scenes from nature; the sandstorms look like ashes scattered all over the marble sculptures.

Which is longer—a moment or an eternity?
In Where Are You Going, time and space are displaced; it is a time and space in which a moment and an epic coexist. Stories happening several thousand kilometers away are being re-edited to include the artist’s silhouette, gestures, thoughts, and questions. The visitors are situated within it, and they must carefully differentiate and seek out the artist’s spatial magic. How did every one of them appear? Which complex yet conflicting relationships are present? Animals, bones, and sand, as well as air blowers, stonemasons, and the artist’s travels come from different times and spaces and have their own existential logics, cultural symbols, and historical backgrounds. They represent life and death, disaster and glory in every culture and they mix together. The mirrors of varying sizes on the wall reflect different perspectives, and when placed together, they have a mirage-like effect. We catch glimpses of the sand, sky, and white statues, remembering the distant life of the nomadic search for pastures and waters, until sandstorms block our vision and walking
only gets us in deeper. We are thrown into a wilderness world in which a direction cannot be discerned, and grains of sand attack us from all directions.

What causes unease? We are always hovering in a sense of crisis, but Belief provides another answer. In the corner of a room, seven butter lamps flicker in an antler chandelier. Its shape and meaning come from Mongolian history and culture, because these chandeliers were often used by nomadic aristocrats. Here, traditional antlers have been replaced with cast copper; industrialized production is imitating the texture of antlers. The chandelier rests heavily on the ground, the broken chain hanging from a frame. Only the butter lamps retain that primitive brightness; the lights gently swaying the breeze from the wilderness outside, but they cannot be scattered by changes in this mundane world. We sense it, and what we sense is the firm self-awareness, the “birthmarks” of lineage, and the unwavering belief in Qin Ga’s twenty years of artistic practice.

The meaning that the artist relates through symbolism is not easy to understand, but what’s interesting is that antler lamps, this product of hunting tribes, guides the story in another direction—Mongolian history and the story of a people that went from hunting in the mountains to herding sheep. Thus, the crisis is no longer a binary opposition between nomadic and agricultural lifestyles; the crisis returns to nomadism itself, examining its historical impact, change, and perpetuation. The question of where they are going has a broader historical meaning and engages with a much broader reality.

Where Are You Going and Belief begin with the real encounters between nomadism and hunting cultures, asking a larger question: Is it just these two ways of life that are dying? Or is it a regional crisis? Obviously, at a moment when free flows encounter numerous obstacles, people both rely on the city and detest it. Individuals are trained, and capital constructs the spectacles of society, both of which make breathing more difficult and cause us to wonder where we are going. Is the wasteland returning to a past civilization? The wasteland itself provides an answer. There is no utopian existence outside of cities; it is similarly overwhelmed with crises.

In 2014, Qin Ga began investigating the Alxa League on the west side of Inner Mongolia, moving from west to east. Long, narrow Inner Mongolia extends for thousands of kilometers in northern China. This journey was difficult; he traversed plains, deserts, hills, and rivers. This trip was different from a mere pleasure tour; he had to think everything over carefully and pass through time and space to listen to the voices of the past. When necessary, he had to sleep under the stars and work himself to the bone. Only in this way would the issues hidden in reality and the crises that are not easy to discern become gradually more obvious. Nature did not throw up obstacles on his journey; enclosures prevented him from moving forward on plains that seemed to stretch to the horizon. He was constantly climbing over these enclosures; they evoked modern industry through constructions of barbed wire that contained the potential for injury. Grassland Fence Project developed from this experience. Through geographical and social surveys, Qin Ga began the project in the Xilingol League in the eastern part of Inner Mongolia. When he chose to change the investigation, he traveled from west to east, creating two times and spaces and two decidedly different visions. He started with three perspectives: 1. He asked the herders he encountered along the way two questions: What do you think of enclosing the plains? Have you tried opening the enclosures? 2.He photographed the herders’ ways of working, including scenes of them shearing sheep in the summer and watering the animals in the winter.3. Along the way, he photographed marshes, deserts, plains, rivers, and mountains. Qin Ga recorded what he saw and heard in a nomadic fashion; his “working space” moved with the herders, and they shared the same honors and losses.

An ordinary, settled life engulfed by modernity and homogeneity reflects the herders’ use of enclosures and modern society’s emphasis on boundaries and sovereignty, which are cut off from traditional nomadic life. Personal economic interests and the need to expand production capacity have transformed modern society into a series of social projects. Therefore, grazing becomes the accumulation of capital labor force and cities, highlands, plains, and deserts become part of global industry. Nomadic culture has a harmonious relationship with and reverence for nature. The belief in the Creator’s laws and the view that all things are equal and interconnected are becoming more distant from the entanglements of modern society and capitalism. Grassland Fence Project is just the beginning; it will continue in Inner Mongolia. The core issues of this region are not just happening in several thousand kilometers on the map; they are playing out all over the world.

However, these ideas, which are being widely discussed today, are linked to the idea of “enclosure” and bring us back to the simplest of real lives. In his travels, Qin GA constantly asked herders about their opinions and collected various kinds of enclosures, recording classic or symbolic moments. In the exhibition hall, he creates for viewers a journey in space and time across the wilderness. When the sounds of stones striking blend with the winds and the pure marble is constantly covered with sand, Where Are You Going becomes a question that lingers in the mind. The spark of a nomadic life lies in another part of the brain, and it, like the light of seven small butter lamps, is sometimes bright and sometimes feeble.

Cui Cancan
July 7, 2019

About the artist
Qin Ga is an artist and the founder of Zao Space. He gained his bachelor’s and master’s degree in sculpture from the Central Academy of Fine Arts and is currently teaching at the Central Academy of Fine Arts. Since the late 1990s, his works have always been concerned with reality and coherence. His anti-aesthetic attitude enabled him to develop an ultra-daily personal preference and dependence on reality. His body carries the public memories and personal feeling to create a live work that breaks the viewer’s expectations and the line between the works to make the sculpture a turbulent one. At the meantime, he tries to blend the cognitive spirit of the nomadic culture with the actual experience and express the delusions of reality. In 2012, he established “Zao Space”, selecting social spaces in a nomadic manner, allowing art to take place in the social space, and in the face of very specific realities, initiated a number of artistic action projects. Major public collections include the Queensland Art Museum in Australia, the Czech National Gallery, the UBS Collections,
the M+ Museum in Hong Kong, and the Central Academy of Fine Arts.

About the exhibition

Opening: 2019.7.13 4 pm
Duration: 2019.7.13 – 8.28
Location: Tang Contemporary Art, 1st space, Beijing

Courtesy of the artist and?Tang Contemporary Art, for further information please visit?www.tangcontemporary.com.?

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Red Brick Art Museum presents a collection exhibition themed on “Thousand-Armed Guanyin”-足球开户系统 http://www.sohbed.com/red-brick-art-museum-presents-a-collection-exhibition-themed-on-thousand-armed-guanyin.html http://www.sohbed.com/red-brick-art-museum-presents-a-collection-exhibition-themed-on-thousand-armed-guanyin.html#respond Fri, 12 Jul 2019 15:56:11 +0000 http://www.sohbed.com/?p=101936
In 2012, Thousand-Armed Guanyin?by the Chinese-French artist Huang Yong Ping was the first work that Red Brick Art Museum welcomed into its collection. The work is eighteen meters high, with one thousand Guanyin arms grafted onto the form of Marcel Duchamp’s work The Bottle Rack. The bodhisattva’s hands hold or support Buddhist instruments, animals, plants, daily necessities, and waste. The piece is all-encompassing; it is a reflection and examination of the diverse and complex cultural contexts of the contemporary world and a temporal and spatial coordinate for contemporary art. Thousand-Armed Guanyin?is a starting point for the contemplation of a contemporary museum’s art collection, and as such, it has shaped the values of Red Brick Art Museum. We believe that, to collect is to endow, and to share is to educate.
On May 23, 2014, the Red Brick Art Museum presented ten contemporary artists in its grand opening exhibition “Tales from the Taiping Era.” Five years later, on July 18, Red Brick Art Museum will look back on its progress and exhibit its collection in “Thousand-Armed Guanyin,” featuring works by seventeen artists: Olafur Eliasson,?Dan Graham, Ho Tzu Nyen, Huang Sunquan, Huang Yong Ping, Izumi Kato, Andreas Mühe, Laure Prouvost,?Qiu Zhijie,?Andres Serrano, Shen Yuan, Rirkrit Tiravanija, Inga Svala Tho?rsdo?ttir & Wu Shanzhuan, Wen Pulin, Xiao Lu, and Xing Danwen.
This collection exhibition will include an archive library and a public reading area. Red Brick Art Museum’s Art Archive Center was founded in 2018 and is dedicated to the research, discovery, organization, and dissemination of documentation related to artists and contemporary art history. The collected archives are mostly comprised of donations from individuals, institutions, galleries, and art media outlets, including Time Zone 8, Yuz Museum, Taikang Space, Beijing Center for the Arts, Artforum, Art Collection, Fang Lijun, Wang Guangyi, and Wang Jianwei.
As an international platform and bridge for contemporary art, Red Brick Art Museum has spent the last five years focusing on the past and present of contemporary art. Red Brick has presented many important large-scale exhibitions, such as “Olafur Eliasson:?The unspeakable openness of things” and “Rituals of Signs and Metamorphosis;”?introduced the world-renowned “High Tension: 8?Winners of the Marcel Duchamp Prize” to Chinese audiences; initiated the first design-centered dialogue between Chinese classical furniture and Danish furniture masterpieces with the exhibition “Identification Zone: Chinese and Danish Furniture Design;”?and organized the major international touring exhibition?“Huang Yong Ping: Baton-Serpent II.” Together, these exhibitions have informed the museum’s multi-faceted thinking on contemporary art.
Red Brick Art Museum was founded by entrepreneurs and collectors Yan Shijie and Cao Mei. Dong Yugan, a noted architect and Associate Professor at Peking University, was invited to design the museum. After seven years of preparation, the museum opened to the public on May 23, 2014. The contemporary Eastern aesthetic of the buildings and gardens were shaped from red and grey bricks, and in the wetlands, nature was incorporated to form a dialogue between sun, air, wetland ecosystems and art, thereby creating an artistic wetland hidden in an international metropolis.
In this early stage of contemporary museums in China, Red Brick Art Museum has proposed and put into practice the landmark development concept of the Art Wetland. In a world of digital technologies and artificial intelligence, we are trying to engage with nature and looking for ways to improve contemporary art museums.
About the exhibition
Dates:?Jul 19-Oct 13, 2019
Venue:?Red Brick Art Museum
Artists: Olafur Eliasson, Dan Graham, Ho Tzu Nyen, Huang Shunquan, Huang Yong Ping, Izumi Kato, Andreas Mühe, Laure Prouvost, Qiu Zhijie, Andres Serrano, Shen Yuan, Wu Shanzhuan & Inga Svala Thórsdóttir, Rirkrit Tiravanija, Wen Pulin Archive of Chinese Avant-Garde Art, Xiao Lu, Xing Danwen
Courtesy of the Red Brick Art Museum, for further information please visit?www.redbrickartmuseum.com.
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Tang?Contemporary?Art presents “Niki de Saint Phalle Solo Exhibition” in Hong Kong-足球开户系统 http://www.sohbed.com/tang-contemporary-art-presents-niki-de-saint-phalle-solo-exhibition-in-hong-kong.html http://www.sohbed.com/tang-contemporary-art-presents-niki-de-saint-phalle-solo-exhibition-in-hong-kong.html#respond Wed, 10 Jul 2019 13:20:07 +0000 http://www.sohbed.com/?p=101929

Tang?Contemporary?Art?is pleased to present?Niki de Saint Phalle Solo Exhibition, an exhibition in collaboration with Niki Charitable Art Foundation and Galerie Mitterand, celebrating the discovery of this legendary French-American female artist in Asia.

Born in France and raised in the USA, Niki de Saint Phalle?(1930-2002) was one of the most legendary women artists of the 20th?century.?She appeared on the art world scene in the early 60s as the only female member of the Nouveaux Realistes in Paris. She had no formal art education but learnt from her family and travels, she was also deeply influenced by numerous artists from the Middle Ages to Matisse and Pollock. In her mid-twenties, she suffered a major nervous breakdown and was hospitalised. Niki began creating art as therapy and voice to express her anger and hope in a primitive and experimental style using symbols like animals, monsters and female figures. Saint Phalle created a series of works in the early 1960s that were featured in her first exhibition Tirs (Shooting Paintings). She suspended bags of paint in front of the white-painted assemblage and shot the assemblage with a pistol or rifle, causing the bags filled with paint to “bleed”. In 1963, she created a series of sculptures protesting stereotypical societal roles for women as brides, birth-givers and prostitutes. Over time, her Nanas became more joyful, whimsical and colourful: she?decided?to glorify and liberate women. Saint Phalle used to be a fashion model in her teens and was very skinny herself but wanted to celebrate the female curves as well as women of all shapes and forms. These sculptures broke free from the social constraints imposed on women and?advocated?for universal empowerment for all women.

Femme Bleue
Sculpture
Bronze, polyureth ane paint
210x125x5cm
1994-1997

 

In the 1970s, Saint Phalle began ambitiously working on large scale architectural public art projects. At this point of her life she wanted to create works that would bring joy, humour and colour to people’s lives. To name a few examples: in 1972 Saint Phalle was commissioned to build a giant sculpture in Jerusalem and created a monumental dragon with 3 tongues, depicting 3 religions, for children to?play together. In 1983, after receiving the invitation from French president Fran?ois Mitterrand, Saint Phalle and Jean Tinguely created the Stravinsky Fountain in Paris. From the late 70s, Niki initiated the famous Tarot Garden (1978-1998) in Tuscany, Italy, with her artist and architect friends. This ambitious project with buildings and monumental sculptures based on Tarot cards became a lifetime signature project of Niki until she passed way in 2002.

Ange Gardien
Sculpture
Ployester paint, gold leaf, electric wiring, light bulbs
162x150x35cm
1990

She also produced design objects that went against the aesthetic of functionalism and challenged the usual narrative of Modernist design. In 1980, Saint Phalle began creating a series of polyester snake chairs, vases and lamps. In the early 1990s, she returned to the United States due to health reasons where she lived until her death in 2002. During her decade in the United States, Saint Phalle built a new sculpture garden: Queen Califia’s Magical Circle (1999-2003) which is her last public?artwork.

Like a phoenix, Niki de Saint Phalle always rose from her ashes. She struggled with mental and physical health but found a way to heal through her art. As she declared in a drawing near the end of her life, “La mort n’existe pas/Life is eternal” (“Death doesn’t exist/Life is eternal”). Niki lived through her art and became a symbol of women’s free will, love and hope.

Sphinx
Sculpture
Ployester paint, gold leaf
28x43x29cm
1989

About the exhibition

Dates:?07.12.?– 08.17, 2019

Venue:?Tang?Contemporary?Art

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HOW Art Museum announces “Serious Games” opening on August 2-足球开户系统 http://www.sohbed.com/how-art-museum-announces-serious-games-opening-on-august-2.html http://www.sohbed.com/how-art-museum-announces-serious-games-opening-on-august-2.html#respond Wed, 10 Jul 2019 12:35:34 +0000 http://www.sohbed.com/?p=101921

HOW Art Museum (Shanghai) announces that the group exhibition Serious Games will be on view from August 2. Serious Games will present works and projects of both artists and game designers, casting light on the historical development of video games as a form and image, the tension between the mechanism of eSport competition and players from a bio-political point of view, as well as the critiques of spacial politics, historical truth, and future conflicts within the context of video games. Moreover, the exhibition is not limited to present the works directly related to video games, and it also attempts to extend the boundaries of people’s notions of game by showcasing works from different perspectives.

The year 1945 marked the end of World War II.

In 2003, a game named Day of Defeat (DoD)was launched and soon became one of the most known video games centering on the theme of WWII. DoD was based on Half-life, a first-person sci-fi shooter game published in 1998.

In 2001, the 9/11 attacks occurred. Two years before this, Counter-Strike, also a video game based on Half-life, was published.

In 2009, artist Harun Farocki visited Marine Corps Base 29 Palms in California, where he saw soldiers receiving shooting training through computer games that simulated street environment in Afghanistan.

In 1944, Chinatown Fair opened on top of a restaurant in Chinatown, Manhattan. Following the birth and development of arcade games, it became knowns as “NYC’s last great arcade” in the 1970s, witnessing the birth of the first batch of professional arcade players on the East Coast.

In 2011, due to the decline of arcade, the Chinatown Fair Arcade was closed. Ten years prior to its shutdown, the first World Cyber Games was held in Seoul, South Korea.

In 2015, a game called Kings of Glory was published in China and launched its own professional league in the following year.

Also in 2016, AlphaGo defeated Lee Sedol, world champion and professional Go player of 9 dan rank from South Korea.

“Nothing is more serious than the game.”

When Lefebvre wrote down this sentence in 1965, he certainly was not referring to video games, let alone the concept of “serious games”.

As an ancient form of human activity, games have been undergoing drastic changes under the development of science and technology. Until the era of video games, its unprecedented connection with daily life has opened up new possibilities for cognitive space, images and life forms. It has even launched challenges to the present and future way of people’s existence. However, in stark contrast to the radical evolutions of the contents and forms of video games and its enormous number of users, games have not yet received enough “serious discussions” because of its natural connection to entertainment.

“Serious games” refer to video games not only for entertainment purposes, but also applied in fields such as education, medical care and social management, etc. Hence, such games are generally referred to as “applied games”. However, the exhibition, Serious Games, doesn’t intend to make the distinction between “serious” and “entertainment”. On the contrary, the exhibition seeks to break the stereotypes surrounding video games, trying to investigate video games within the context of the current political dimensions where lines are blurred between machines and human beings, reality and virtuality.

About the exhibition

Dates:?2019.8.2-2019.11.2

Venue:?HOW Art Museum (Shanghai)

Artists: Alexis Mailles, Feng Chen, Harun Farocki, Jon Rafman, Kent Sheely, Lu Haoming, Lu Minglong, Matthieu Cherubini, Pei Enen, Peter Nelson, Wu Qiyu

Courtesy of?HOW Art Museum, for further information please visit?www.howartmuseum.org.

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Symposium (2019) on “Public Art and Daily Life: The State and Development Trend of Public Art in China” commenced-足球开户系统 http://www.sohbed.com/symposium-2019-on-public-art-and-daily-life-the-state-and-development-trend-of-public-art-in-china-commenced.html http://www.sohbed.com/symposium-2019-on-public-art-and-daily-life-the-state-and-development-trend-of-public-art-in-china-commenced.html#respond Sun, 07 Jul 2019 02:12:49 +0000 http://www.sohbed.com/?p=101894

Since the 21st?century, the cognition of public art in China has been transformed from “urban sculpture”, to “the art that decorates the public space”, “the art that interacts with the public” and then to “the art that intervenes in specific areas”. The process of understanding public art has also developed from analyzing the cultural identity of public art to exploring diversified and multidimensional social practices. Nowadays, public art tends to be immersed in citizens’?daily life, thus artists try?to discover the more general?and closer?relationship between art, society and individuals.

On the afternoon of 15th?of June, 2019, co-organized by School of Arts, Peking University and the Schools of Humanities of Peking University, the symposium on “Public Art and Daily Life”2019 commenced.

The symposium was based on the developmental state and multi-dimensional experience of public art in China and aimed to construct a modern social culture, promote the development of urban and rural ideas as a whole and encouraged the practice of contemporary art. The symposium responded to several questions. For example, how Chinese contemporary art has facilitated the development of city and community? What is the situation, the concept and the methodology of contemporary art in terms of developing people’s living quality? The symposium also referenced international development and practice in public art to expand the discussion regarding the direction, methodology and core value of Chinese public art in the future. Meanwhile, topics such as theories and criticisms of Chinese public art, the direction of multi-dimensional research on Chinese public art in the future and the development in?the practice of public art at present and in the future, were also mentioned in this symposium.

Group Photo View of Symposium View of Symposium View of Symposium Weng Jianqing, Professor of the School of Arts Peking University and art critic Yin Shuangxi, Professor of the School of Humanities at Central Academy of Fine Arts and art critic Liu Yuedi, the researcher of Institute of Philosophy at Chinese Academy of Social Sciences and the pioneer of “Life Aesthetics” Lyu Pinjing, Vice President of Central Academy of Fine Arts and Professor of the School of Architecture at Central Academy of Fine Arts Ma Qinzhong, Professor of the School of Sculpture and Public Art at China Academy of Art and art theorist Wang Mingxian, research of Chinese National Academy of Arts and architectural theorist Jiao Xingtao, Vice President of Sichuan Fine Arts Institute and Professor of the School of Sculpture at Sichuan Fine Arts Institute Yang Qirui, Professor and Former Dean of the School of Sculpture and Public Art at China Academy of Art Zhang Yu, Professor and Director of School of Arts and Design, Shantou University Wang Hongyi, Professor of Shanghai Academy of Fine Arts and art theorist Zang Feng, the co-founder of People’s Architecture Office and People’s Industrial Design Office Li Zhu, Doctor candidate in Shanghai Academy of Fine Arts, Shanghai University Li Xiaochuan, Doctor candidate in School of Arts, Peking University Zhang Zhongtao, Doctor candidate in the Philosophy Faculty, School of Humanities, Zhejiang University

The symposium “Public Art and Daily Life: The State and Development?Trend of Public Art in China”, is divided into four sections, namely, “Multiple Perspectives of Public Art Research”, “Public Art and The Construction of Urban and Rural”, “Public Art and Living Practice” and “Integrating Public Art with the Community”.

The first thematic discussion on?“Multiple Perspectives of Public Art Research” was hosted by Weng Jianqing, Professor of the School of Arts at Peking University and art critic. Liu Yuedi, a researcher of the Institute of Philosophy at the Chinese Academy of Social Sciences and the pioneer of “Life Aesthetics”, Yin Shuangxi, Professor of the School of Humanities at the Central Academy of Fine Arts and art critic, Zhen Jing, Vice Dean and Associate Professor of the School of Sculpture and Public Art at the China Academy of Art, Zhang Zhongtao, Doctoral candidate in the Philosophy Faculty, School of Humanities Zhejiang University, Li Xiaochuan, Doctoral candidate in the School of Arts Peking University, and Professor Weng Jianqing all gave speeches. After the keynote speech section, Wang Mingxian, researcher ?in the Chinese National Academy of Arts and architectural theorist, Ma Qinzhong, Professor of the School of Sculpture and Public Art at China Academy of Art and art theorist, appraised the contents of the speeches. The following Q&A section allowed the guests to communicate with each other directly and positively.

The second section on “Public Art and the Construction of Urban and Rural” was hosted by Yang Qirui, Professor and Former Dean of the School of Sculpture and Public Art at China Academy of Art. Architecture Zang Feng, the co-founder of People’s Architecture Office and People’s Industrial Design Office, researcher and art theorist Wang Mingxian, Professor Yang Qirui, Lyu?Pinjing, Vice President of Central Academy of Fine Arts and Professor of the School of Architecture at Central Academy of Fine Arts, Professor Ma Qinzhong and Zeng Lingxiang, Associate Professor of Department of Public Art at Sichuan Fine Arts Institute, gave speeches. Professor Yin Shuangxi and researcher Liu Yuedi appraised the contents of the speeches. Based on the issues mentioned by speakers in this section, all participants engaged in a heated discussion. So far, the entire agenda for the first day was completed successfully.

The third section focused on the topic of “Public Art and Living Practice”. Zhang Yu, Professor and Director of School of Arts and Design,?Shantou University,?Jiao Xingtao, Vice President of Sichuan Fine Arts Institute and Professor of the School of Sculpture from?Sichuan Fine Arts Institute, Wang Hongyi, Professor of Shanghai Academy of Fine Arts and art theorist, and Li Zhu, Doctoral candidate in Shanghai Academy of Fine Arts, Shanghai University, gave speeches. Professor Wang Hongyi pointed out the issues with the lack of fundamental theories, while the other appraiser Zhen Jing in this section concluded that practical artists in the public art arena should not be restricted in having a strong sense of responsibility and sense of mission. Instead, they should be encouraged to return to the ontological thinking to practice public art.

Overall, the discussions in this symposium have revealed the situation that the identity of public art is gradually transformed from the grand narrative towards reflections on daily life. Public art is encouraged to increase communications with social life thus to intervene in every perspective of people’s daily life. To summarise, the opening and discussion of this symposium has trawled through the developmental state and features of Chinese public art at this moment and provided public art in the future with a space for diversified research angles by sharing a number of case studies.

Text by Lin Lu/足球开户系统 ART INFO

Translated by Emily Weimeng Zhou?and edited by Sue/足球开户系统 ART INFO

Photo courtesy of the organizer

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Pace Gallery presents Liu Jianhua’s solo exhibition in Palo Alto-足球开户系统 http://www.sohbed.com/pace-gallery-presents-liu-jianhuas-solo-exhibition-in-palo-alto.html http://www.sohbed.com/pace-gallery-presents-liu-jianhuas-solo-exhibition-in-palo-alto.html#respond Fri, 05 Jul 2019 08:16:52 +0000 http://www.sohbed.com/?p=101889

Pace Gallery presents the exhibition of Liu Jianhua focusing on Liu’s mastery of porcelain, a medium he has been ceaselessly pushing the boundaries of since 1977, when he began working as an apprentice in the Jingdezhen Pottery and Porcelain Sculpture Factory, the oldest established centre of ceramic production in China. Significant recent series in the artist’s oeuvre are on display, including ‘Trace’ (2011); ‘Square’ (2014), which was featured in the 2017 Venice Biennale?Viva Arte Viva; and ‘Blank Paper’ (2009—2016). The artist’s first solo exhibition with Pace Gallery in the U.S., Liu Jianhua will be on view from June 21 to August 4, 2019 at Pace Gallery at 229 Hamilton Ave, Palo Alto.

The series of works included in this exhibition underscore the artist’s increasingly philosophical approach toward form and abstraction that has characterised his practice over the last decade. Full distillations of form resulted in the ‘Blank Paper’ series, thin sheets of white porcelain hung on the wall. Uncannily realistic in their mimicry of pristine sheets of paper, the works demand more than a perfunctory glance to see they are made of porcelain. However, in the process of discovering the sculptures’ true medium, assessments and assumptions are reevaluated and the viewer is able to reconsider the form of objects free from preconceptions of their function. Though the works allow for revelations, they offer the viewer no grand narratives, rather inviting people to make their own impressions.

Other highlights of the exhibition include ‘Trace’, a series of wall-bound black porcelain ink drops, which are inspired by wo lou hen, a calligraphy stroke that can be translated to ‘traces from a leaking roof.’ The sculptures play off of both wo lou hen’s figurative inspiration and calligraphic origins by returning the brushstrokes back to their architectural context, while transforming the walls of the gallery into immense sheets of paper at the artist’s disposal. This transformation is made complete by the lustrous black porcelain Liu expertly employs—in his hands the material appears viscous and weighty, threatening to drip down the walls. ‘Trace’ ultimately led to the final series on view, ‘Square’, an installation comprised of gold-glazed porcelain pools resting on top of steel sheets, which was most recently shown in?Viva Arte Viva?at the 57th Venice Biennale (2017). Liu further flexes his unsurpassed dexterity with porcelain by seemingly turning fragile material into delicate liquid pools of precious metal. Though the works are undeniably sumptuous, they present a clean cogent aesthetic with a strong eye for form and material that has defined Liu Jianhua’s recent work.

About the artist

Liu Jianhua was born in 1962 in Ji’an, Jiangxi Province, China. In 1989, he graduated from Fine Art of Sculpture at the Jingdezhen Ceramics Institute. The artist now lives and works in Shanghai, China.

Liu Jianhua is one of China’s best-known contemporary artists who experiments with comprehensive materials. After graduating from college in 1989, and within a contemporary context, he started his own experimental practices. Liu’s porcelain and mixed media works reflect the economic and social changes in China as well as the problems that follow suit. His ‘Regular Fragile’ series, first shown at the Chinese Pavilion, Venice Biennale in 2003, is composed of porcelain replicas of familiar objects that privilege appearance and symbolism over function. In 2008, he shifted his previous close and direct attention on the problems that emerged in China from globalisation and sharp social changes to ‘no meaning, no content’, which declared a fairly new exploration in his works with?Untitled?in 2008, and therefore developed his own system of expression for contemporary art. Liu, together with artists?Hong Hao,?Xiao Yu,?Song Dong, and curator Leng Lin, established the Polit-Sheer-Form Office group in 2005.

About the exhibition

Dates: 21 June–4 August 2019

Venue: Pace Gallery

Courtesy of the artist and Pace Gallery, for further information please visit www.pacegallery.com.

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Chambers Fine Art presents “Turn of the Century: Photography in China” in New York-足球开户系统 http://www.sohbed.com/chambers-fine-art-presents-turn-of-the-century-photography-in-china-in-new-york.html http://www.sohbed.com/chambers-fine-art-presents-turn-of-the-century-photography-in-china-in-new-york.html#respond Fri, 05 Jul 2019 07:58:46 +0000 http://www.sohbed.com/?p=101879 Wang Tiande, Gu Shan I, 2006; Color Photograph, 32x163cmChambers Fine Art presents Turn of the Century: Photography in China. This exhibition assembles representative photographic works by five artists who figured prominently in the Chambers Fine Art exhibition program in the first decade of its existence. In the 1990s and the first decade of the present century, photography played a key role in the revitalization of the contemporary art world in China that first emerged in the mid-1980s and developed to a remarkable degree in the years immediately before and after the turn of the century.

During the 1990s in China, the decade in which contemporary Chinese art first began to gain international recognition, photography as a means of expression was no longer limited to photographers. Although RongRong (b.1968) worked exclusively in the photographic medium, Hong Lei (b.1967) was more concerned with its relationship to painting and poetry than with its ability to record aspects of the world in which we live. During this period Hong Hao (b.1965) gained fame as a printmaker although he turned to photography for a variety of conceptually oriented activities and in the?My Things?series produced what appeared to be photographs without the use of a camera. For Song Dong (b.1966) and Yin Xiuzhen (b.1963) photography was one among many media in which they worked when it seemed to be the most appropriate choice for what they were trying to achieve. Likewise, Wang Tiande’s (b.1960) was not primarily a photographer, his primary focus being on an innovative transformation of Chinese ink painting, but on occasions he turned to photography as yet another way of manifesting his primary interests.

Hong Hao, My Things No. 4, 2002; Scanned Color Photograph, 60x100cm Hong Lei, Autumn in the Forbidden City (East and West Veranda), 1997; Color Photograph, 50x60cm Hong Lei, Speak, Memory of Butterflies, 2005; Color Photograph Rong Rong, East Village, Beijing No. 1 东村, 北京 No. 1 (1994). Black and white photograph. 107 x 161 cm. Courtesy Chambers Fine Art, New York. Song Dong and Yin Xiuzhen, Beijing 360 Degrees, 2002; Color photograph, Set of 16, 60x40cm Wang Tiande, Gu Shan I, 2006; Color Photograph, 32x163cm



RongRong was a key figure in the emergence of an alternative to the academic and highly successful movements in painting such as Political Pop and Cynical Realism that first claimed critical attention in the 1990s, as a photographer who in his first sustained body of work documented the activities of a group of daring young artists who lived and worked in run-down part of Beijing that soon became known as the East Village. Shortly after moving to the East Village RongRong met most of the artists and musicians – Zhang Huan, Ma Liuming, Zhu Ming, and Zhu Zhou among others – who were to become his major subjects in the ensuing eighteen months. In a letter to his sister he wrote that “now I use Zhang Huan, Ma Liuming and other East Village residents as my models. I am not only recording their performances. I also have my own ideas and opinions. I think that holding a camera in my hand enables me to move away from reality.” This loosely-knit community was short-lived, however, as after Ma Liuming’s performance on June 13, 1994, the police arrested some members of the community for alleged obscenity, and also evicted some other Village artists, including RongRong, from their rented shacks. After they dispersed RongRong continued photographing their group projects and individual performances. He was not alone in documenting the short but colorful existence of the Beijing East Village but his photographs are exceptional for their dramatic lighting and composition.

Of the same generation as RongRong, Song Dong and Yin Xiuzhen rose to prominence in the 1990s with a wide-ranging practice that included assemblage, performance and video as well-as hybrid variations of their own invention. As a married couple they had independent careers until 2002 when they agreed to collaborate for the exhibition?Chopsticks?at Chambers Fine Art. Prominently displayed in the exhibition that included three-dimensional objects as well as an audience-participatory work was a large photographic mural?Beijing 360 Degrees. Both born in Beijing and totally familiar with its ancient history and all the stages of its transformation into a megalopolis, they portrayed themselves on the top of Jingshan Mountain, an artificial hill to the north of the Forbidden City in Beijing. Seven months pregnant at the time, the couple are seen presenting the world in panorama to their unborn child. In spite of its conceptual nature, there is a strongly personal element in all aspects of their work.

Hong Hao majored from the Printmaking Department at the Central Academy of Fine Arts, Beijing (足球开户系统), gaining widespread acclaim for his witty and technically complex prints. However, photography soon became an essential tool for the documentation of his environment and of his own performances, quite different in kind from the endurance tests of the East Village artists and He Yunchang. In the?My Things?series Hong Hao described his process in the following words: “Scanning the real objects is the method of?My Things?series to show the attraction of details. Things of daily use including day-to-day products, trash, my collections, tickets and certificates. I placed all those things that I used and touched every day in the scanner. After processing by computer, I made the photo with all things at their original size. I’d like to make them as a revivification and live show of the life of today.” A decade later in?Elegant Gathering, he utilized his considerable computer skills in the creation of a series of ambitious photographic works in which traditional Chinese ink paintings depicting scholars’ gatherings in gardens are updated by the insertion of contemporary personalities and accoutrements.

Wang Tiande and Hong Lei, both also immersed in traditional Chinese culture, turned to photography as a means of re-imagining this long-lost world in contemporary terms.?Gu Shan Mountain, 2006, is exceptional among Wang Tiande’s works in that it is a photographic exploration of thematic content that underlies his ongoing experimental ink painting practice in which a crucial aspect was the addition of characters burnt into the surface. Art critic and scholar Zheng Shengtian has described how “every time Tiande burns paper, “ashes of words” remain on the floor of his studio. Now, he piles up these ashes in the shape of mountains. Them by using a camera and computer, he recreates remarkably lifelike landscapes. At first glance, this is merely playful, but in reality it embodies deep philosophical meanings. The ashes of traditional culture, re-made by the artist, are given infinite vitality.”

Hong Lei created some of the most unforgettable photographic images of the 1990s, especially?Autumn in the Forbidden City (West Veranda), 1997 and?Chinese Landscape (Zhocheng Gardens), 1998. In these manipulated photographs of the supreme symbol of Imperial power and traditional Chinese gardens, Hong Lei gave expression to a wide range of emotions, admiration for the great achievements of the past and regret at their present degenerate state achieved through exaggerated color contrasts in which red predominated. In his second exhibition at the gallery,?Transmitting the Ancient, Hong continued his exploration of the vexed relationship between past and present in contemporary China. Whether he was traveling to the original sites of Song dynasty paintings to frame the exact views as they exist today or recreating still-life motifs with artificial flora and fau