不像画

展览开幕:2018年12月28日晚8点
展览时间:2018年12月28日——2019年1月7日(周日闭馆)
地点:TCG诺地卡文化中心,昆明西坝路101号创库艺术社区
联合主办:TCG诺地卡文化中心、云南艺术学院美术学院油画系

策展人:罗菲
参展艺术家:
弗雷德里克·费慕林 Fredrik Fermelin(瑞典) 和丽斌
刘辉 杨鼎 饶建雄 李思雨 王成龙 张龙 蒋才 何汝婷 蒋启建 董春文 刀继成
刘再明 杨振琦 段宇航 邵琳鉴 王胜凯 李振宇 刘俊妤 张俊鹏 焦勇 刘梦云 梁紫瑞 黄梓恒 李红梅 魏陆婕 刘宇 李涛 陶昱希 晋锐娜 白再阳 汤邵元 和玉菊 张磊 马隽哲 徐国鑫 卞文俊 马煜程 杨琪 周子晋 张晨阳 闻宽 安炤宇 杨杰 李华 傅尔加周
现场音乐:Eilev Stoveland Dekko(挪威),Fredrik Fermelin(瑞典)

《不像画》前言:

文: 罗菲

绘画可能是今天艺术领域最具亲和力也最令人头疼的事情之一,它总是能提供有关自身的故事,那些故事又为后来的画家们设定了诸多无法绕开的路标。它时而预示着某种终结,时而预示着某种回归,更多时候,它只是让人感到尚可继续下去的古老的游戏。对很多画家来说,画画只是属于自己的事情,那种眼界与手艺的持续成长让人着迷,仅此而已。

只是今天的绘画已不再是艺术家们的拓荒之地,今天的艺术家面对的不只是绘画,而是整个艺术世界。人们从绘画的方法、观看和绘画这个行动本身去寻找突破口,去尝试“重新”画“一张画”的可能,去尝试画“画画”这件事情。这不只是让“画画”变得更加复杂,也让“看画”变得更加复杂,它们都变得不再直观。绘画的任务不再是再现或者表现,而是提供“画画”和“看画”的某种可能。这也正是我们今天这个展览的出发点。

2015年从瑞典皇家美院毕业的艺术家弗雷德里克今年9月来到昆明TCG诺地卡驻留,整整三个月他完全专注于绘画,在此之前,他主要从事表演艺术、声音艺术等现场艺术形式。弗雷德里克的绘画观念与gif格式的图像生成有关,两张看上去相似的图像并置在一起,由观众自己去联想它们之间的关联,类似电影蒙太奇的方法。但他只是让两张绘画在空间上并置,而不是时间上关联。在画面的最表层,是一种表现主义倾向的风格,尽管他极力否认自己的绘画与表现主义风格有关,因为那不是他要追求的,他关注的是画面和画面之间潜在的建构关系。

和丽斌近些年的绘画实践融合了行为艺术的方式——盲画,在户外或室内,在深夜里,他在大尺幅的画布上画他对一个场景的印象和感受。在他的盲画实践中,绘画这一拥有悠久历史的艺术实践被逼入临界状态:可知与不可知之间,可见与不可见之间,可画与不可画之间。唯一能确定并不断被确定的,就是在广袤自然环境中的艺术家自身的存在和自我的增长,这种确认在漫长黑暗中通过对话和较量来完成。这让绘画成为摄影一样,在暗中显影,在日光之下观看。

和丽斌的绘画与弗雷德里克的绘画在风格层面十分相似,他们都用表现主义手法去画风景,但又都提供了一种非常规的“看画”经验。和丽斌刻意让自己看不见的时候画自己的看见,画面的最终显现依赖时间。弗雷德里克通过不同画面空间上的并置,让画面和看画产生不确定性和异样感。他们都用最直观的方式去画,但又都制造出多层次的观看逻辑。

这次展览还有四十余位参加和丽斌短期表现性绘画课程的云艺的同学们,他们的画作结合了行动绘画的练习方法,同样探讨的是画面以外的有关绘画如何可能的问题。弗雷德里克、和丽斌还有诸位同学们,为我们呈现这样一个有关“绘画背后的绘画”的交流展,我姑且把它命名为“不像画”。

Outrageous, like a painting.

Outrageous, like a painting.
text: Luo Fei
editor in English: Sanne Raabjerg

Painting is probably one of the most intimate and vexing things in the art world today. It always provides stories about itself. These stories set a lot of road signs for later painters. Sometimes, it heralds some sort of end, and sometimes it heralds a return. More frequently, it is just an ancient game that makes people feel like they can continue on their paths. For many painters, painting is just a matter of their own interest, and the continuing growth of their vision and craftsmanship is fascinating, and nothing more.

But painting today is no longer the wild land of artists. Today’s artists are not only facing painting itself, but also the entire art world. People go from looking for breakthroughs, in the methods of painting, in the way of seeing images and in the performative part of painting, to painting the possibility of “painting a painting” and to painting the matter of “painting”. This does not only make “painting” more complicated, but it also makes “seeing paintings” more complicated, since they are no longer as intuitive. The task of painting is no longer just to represent or express something, but to provide different possibilities in “painting” and “seeing”. Correspondingly, this is the starting point of our exhibition today.

Fredrik Fermelin, an artist who graduated from the Royal Academy of Fine Art in Sweden in 2015, came to TCG Nordica in September as an artist in residence. Here, he spent three full months focusing on painting. Before that, he mainly engaged in performance, installation, video and digital media, etc. Fermelin’s concept of painting is related to image generation in gif format. Two seemingly similar images are juxtaposed, and the audience themselves associate their correlation, similar to the method of making film montage. However, he just makes two paintings juxtaposed in space, not in time. Although he strongly denies that his paintings are related to the expressionist style, on the surface level they might seem to comprise expressionist tendencies, but that is not what he wants to pursue. He is more concerned with the potential constructional relationship between the pictures.

He Libin’s painting practice in recent years combines the way of performance art with blind painting. In the middle of the night, he paints his impressions and feelings on a large-scale canvas, both indoors and outdoors. In his practice of blind painting, painting, an art form with a long history, is forced into a critical state: Between visible and invisible, between known and unknown, between painting and non-painting. The only thing that can be identified and continually confirmed is the artist’s own existence and self-growth in the vast natural environment. This confirmation is accomplished through inner dialogue and contests in the long-lasting darkness. This turns the painting process into photography development: Developing it in the dark, watching it in the daylight.

He Libin’s and Fermelin’s paintings are very similar in style. They both use expressionism to paint landscapes, and they both provide an unconventional “seeing” experience. He Libin deliberately paints what he has seen when he cannot see; therefore, only time will show the final appearance of the painting. Fermelin’s juxtaposition in space of different paintings, creates uncertainty and dissimilarity in the paintings themselves and in the seeing of the paintings. They both paint in the most intuitive way, but at the same time they create paintings that can be seen on multiple levels.

For this exhibition, more than forty students from Yunnan Arts University participated in He Libin’s short-term expressive painting course. They combine their paintings with the practice methods of action painting, in order to discuss how paintings can be. Fredrik Fermelin, He Libin and the students present us with such a communicative exhibition about “Paintings Behind Paintings”. Here, I have just named it “Outrageous, like a painting”.

Curator: Luo Fei
Artists: Fredrik Fermelin, He Libin and his students from the Yunnan Arts University
Live Music on the opening: Eilev Stoveland Dekko, Fredrik Fermelin

Opening: 8pm, Dec 28th, 2018
Exhibition Time: Dec 28th 2018 to Jan 7th 2019 (Sundays Close)
TCG Nordica Culture Center, Chuangku, Xibalu 101, Kunming
Organized by TCG Nordica and Oilpainting Department of Yunnan Arts University

尚未完成:合订本2017计划 Not Yet Complete Project

尚未完成——合订本2017计划

在今天,艺术已经开始,尚未完成。我只是想展示感觉(直觉)在某个时刻的样子,它们甚至还没有成为艺术品,只是在尚未被系统化之前的某个切片状。

“尚未完成”就是保持怀疑,保持不确定,保持生疏。

“尚未完成”源于对乌托邦的怀疑,对虚无的怀疑,对普遍有效的怀疑。

我对这世上的未来不乐观,所以我期待“尚未完成”的现在。

我们可能会忘记或放弃很多事情,但总有件事“已经来临,尚未完成”,当这件事真正完成的时候,将超出人们的想象。

人,已经开始,尚未完成。

尚未完成——合订本2017计划

▎策展人:罗菲

▎组织团队:薛滔、和丽斌、兰庆星、陶锦、张晋熙、赵磊明、刘丽芬、乔丽丹

▎书籍设计:周开成、罗菲

▎平面设计:年进军

▎开幕时间:2018年1月27日下午3点

▎开幕同时举行“艺术家与昆明合影”

▎展览时间:2018年1月27日–2月3日(周一闭馆)

▎地点:昆明苔画廊,昆明金鼎山北路15号,金鼎1919艺术园A区

▎电话:0871-65385159

白雪娟绘画书 Drawing Book by Bai Xuejuan

 

关于“尚未完成”

“合订本2017”由罗菲策划,主题是“尚未完成”。

策展人邀请参与者提交一件(组)“尚未完成”的作品与大家分享。

“尚未完成的作品”——就其状态而言,它是未完成的,它可以是正在进行的一个项目片段,或无法继续甚至失败之作,或者只是目前被搁浅,再或者,它永远也不再继续。它可以是一个零件、一个局部、一个切片、一个虚晃的由头、一个未成形的胚胎,一个被拖延的事物、被谋杀的事物、被命运忘记的事物……无论怎样,它已经来了,只是,尚未完成……

这个“尚未完成”的进度、理由和展示方式由参与者自己去把握。媒介不限,绘画、照片、录像、文字、音乐、设计稿、草稿、会议记录、账本、家庭作业……一切“尚未完成”的乃至不能被称为“作品”的事物,参展人员都可以提交。

任何人都可以参加本届“合订本”,身份、年龄、国籍、户籍、居住地不限。

“合订本2017”除了出版《尚未完成——合订本2017》艺术家书籍,还包括一个在昆明苔画廊举办的实体展览。我们收到总共110位艺术家和不同行业的人们的作品,他们除了来自云南,还有北京、河南、广西、福建、四川以及挪威、美国、日本、孟加拉等国家和地区的艺术家。他们中有家庭主妇、儿童、青年艺术家也有许多杰出的艺术界大咖,每个人都有一件或者无数件尚未完成的“作品”,正如艺术家李季所言:“人生的太多事情其实永远也无法完成,而且也不需要去完成⋯⋯”策展人罗菲这样解释此次策展理念:“‘尚未完成’源于对乌托邦的怀疑,对虚无的怀疑,对普遍有效的怀疑……在没有完成的人生旅程中,每个人都充满可能性,每一刻都可能被重塑,做这个展览,就是为了把某个时刻留给未来……”

▎参展艺术家

阿俊(丽江)、阿南(大理)、八九(丽江)、白雪娟(个旧)、常雄(昆明)、陈梵元(昆明)、陈继平(昆明)、陈嘉雯(昆明)、陈蕊(昆明)、陈姝羽(昆明)、陈邑安(昆明)、成鱼跃(昆明)、戴丹娜(景德镇)、丁艾纯(昆明)、丁章玉(昆明)、董洁(成都)、董栙(昆明)、豆子(昆明)、Efat Razowana Reya(孟加拉吉大港市)、付美军(重庆)、戈捍(昆明)、戈楷(昆明)、钴叉(昆明)、郭棚(昆明)、郝煜(昆明)、和丽斌(昆明)、贺锦艺(昆明)、胡军强(昆明)、胡涯蛟(昆明)、黄成春(昆明)、黄越君(福州)、Jonathan Aumen(美国弗吉尼亚州)、蒋磊(昆明)、蒋若禹(重庆)、解炫(昆明)、金大伟(昆明)、兰庆星(昆明)、蓝皮(昆明)、老二(昆明)、Laetitia Deschamps(法国巴黎)、雷诺阿(昆明)、雷炜(昆明)、雷燕(昆明)、黎之阳(昆明)、李季(昆明)、李荣强(北京)、李瑞(昆明)、李尚武(昆明)、李婉璇(昆明)、李映星(昆明)、李泽嵩(昆明)、林善文(昆明)、刘和焦(昆明)、刘和森(贵州)、刘辉(昆明)、刘开懿(昆明)、刘丽娟(武汉)、刘香林(深圳)、刘子艺(昆明)、鲁啸天(昆明)、陆锦(昆明)、罗斌(昆明)、罗菲(昆明)、罗文明(楚雄)、罗文涛(昆明)、马力(昆明)、马维(昆明)、莫荧(美国阿拉巴马州)、牟思延(昆明)、慕容亚明(郑州)、年进军(昆明)、聂泰宇(昆明)、欧阳鹤立(昆明)、清水惠美(日本神奈川)、Shank(桂林)、沈琳霞(武汉)、舒扬(昆明)、宋梓萍(昆明)、苏家寿(昆明)、苏亚碧(大理)、孙逊志(美国加州)、唐志冈(昆明)、陶发(昆明)、陶锦(昆明)、王蓓(昆明)、五月(昆明)、武景民(楚雄)、夏华(挪威奥斯陆)、信王军(北京)、薛滔(昆明)、薛小晓(昆明)、严仁奎(昆明)、岩完(昆明)、杨辉(昆明)、杨雄盛(昆明)、尹天石(南宁)、应博睿(昆明)、余廷洋(昆明)、宰鹏飞(昆明)、张宸硕(昆明)、张华(昆明)、张琼飞(法国昂热)、张竹筠(北京)、赵磊明(昆明)、郑宏昌(北京)、周开成(昆明)、周扬(昆明)、朱思睿(宣威)、朱亚琴(昆明)、朱久洋(北京)

《尚未完成》合订本里李季的作品 Thought by artist Li Ji in the book of Not Yet Complete

▎关于“合订本”

“合订本”项目是由艺术家兰庆星提议,薛滔、赵磊明、陶锦、和丽斌、周开成、张晋熙、尹雁华等人于2006年底共同发起,每年由居住或旅居云南的艺术家集体完成的艺术家书籍项目——限量版艺术家书籍。

“合订本”是一个艺术家社群自发、自助项目,每年由不同的艺术家组织策划,一般在春节前发生。每次活动由参与者以较低成本众筹的方式筹集活动经费,策展团队及每位组织人都是作为志愿者参加。

2006年至今,“合订本”由兰庆星、陶锦、赵磊明、张晋熙、兰庆伦、段义松、赵光晖、和丽斌、薛滔、李众、张兴旺、王涵、周开成、仙哥、段闵、施宇东、龚红林、尹雁华、张华、罗菲、李瑞、陶发、沙玉蓉等艺术家集体组织或单独组织策划过。

本届“合订本”特别支持合作:苔画廊、前线、昆明金福楼味道菜馆

Megumi Shimizu’s works (Kanagawa, JPN)

Not Yet Complete — One Volume Artist Book Project 2017

Today art has begun, but is not yet complete. I simply want to reveal the images of sensation(intuition), be it just a sliver, before its systemization.

“Not yet complete” causes one to remain suspicious, remain uncertain, and remain unfamiliar.

“Not yet complete” leads one to doubt utopia, nihilism, and the validity of universalism.

I do not have an optimistic view about the future of our planet, therefore I am expectant about the “not yet complete” now.

We may forget or push things aside, but there is always something “already here and not yet complete”. When this completion comes to past it will exceed all imagination.

Mankind has begun but is not yet complete.

— Luo Fei (curator)

Drawing by Laetitia Deschamps(Paris, FRA)

 

▎About “Not Yet Complete”

“One Volume Artist Book Project 2017” is planned by Luo Fei. The theme is “not yet complete”.

A (set of) artwork of the participator for sharing is demanded.

An artwork of “not yet complete” is uncompleted in reference to its state. It can be a sliver of an ongoing project, a discontinuous or even an unsuccessful artwork. It may be interrupted temporary or eternal. It can be a section, a part, a sliver, a fictitious sake, an unformed embryo, a protracted issue, a hunted issue, or a forgotten issue. Anyway, it is already here but not yet complete …

The progress, reason, and mode of “not yet complete” are decided by the participator. Mediums are unlimited. (e.g., painting, photograph, video, literature, music, layout, draft, minutes, account book, homework, etc.)

Everyone is welcomed to this year’s “one Volume”. The identity, age, nationality, census registration, and address are unlimited.

The “One Volume Artist Book 2017” includes publishing “Not Yet Complete —One Volume Artist Book of 2017” and holding an entity exhibition in Tai Project, Kunming. We have received 110 artworks in total from artists and people from different industries. They come from not only Yunnan province, but also other provinces of China such as Beijing, Henan, Guangxi, Fujian, Sichuan and other countries like Norway, America, Japan, and Bengal. Some of them are housewives, children, young artists as well as eximious proficient in art circles and each of them has at least one “artwork” which is not yet complete. As Li Ji, an artist, says, “Most things in our lives can never be completed, and not necessary …” Luo Fei, the curator, has an explanation on the idea of this exhibition, “’Not yet complete’ leads one to doubt utopia, nihilism, and the validity of universalism … In the long and not-yet-complete journey of life, everyone has infinite possibilities. And of course, everyone can be depressed because of ‘not yet complete’… However, as mankind, we have begun but are not complete. Every moment of present may be remodeled.”

慕容亚明的作品 Art project by Murong Yaming

▎About the “One Volume Edition Artist Book”

The “One Volume” is an artist book project — limited edition book, which was suggested by Lan Qingxing, originated by Xue Tao, Zhao Leiming, Tao Jin, He Libin, Zhou Kaicheng, Zhang Jinxi, Yin Yanhua in the end of 2006 and accomplished together by artists live or sojourn in Yunnan.

The “One Volume” is a spontaneous and self-supported project of artist association, which organized by different artists every year before the Spring Festival. The fund is from the participators in a way of low-cost crowd funding. The curator group and the organizers are volunteers.

Since 2006, the “Volume” has planned by these artists alone or in group: Lan Qingxing, Tao Jin, Zhao Leiming, Zhang Jinxi, Lan Qinglun, Duan Yisong, Zhao Guanghui, He Libin, Xue Tao, Li Zhong, Zhang Xingwang, Wang Han, Zhou Kaicheng, Xian Ge, Duan Min, Shi Yudong, Gong Honglin, Yin Yanhua, Zhang Hua, Luo Fei, li Rui, Tao Fa, Sha Yurong.

Curator: Luo Fei

Organizers: Xue Tao, He Libin, Lan Qingxing, Tao Jin, Zhang Jinxi, Zhao Leiming, Liu Lifen, Qiao Lidan.

Book Designer: Zhou Kaicheng, Luo Fei

Graphic Designer: Nian Jinjun

Opening Time: 3pm, January 27th, 2018

Take “the group photo of artists and Kunming” at the opening.

Exhibition Time: January 27th to February 3rd, 2018 (Closed on Mondays)

Address: Block A, Jinding 1919 Art Area, No.15 North Jindingshan Road, Kunming

Tel: 0871-65385159

刘丽娟作品 Art works by Liu Lijuan

▎Artists in the Exhibition:

A Jun(Lijiang), A Nan(Dali), Ba Jiu(Lijiang), Bai Xuejuan(Gejiu), Chang Xiong(Kunming), Chen Fanyuan(Kunming), Chen Jiping(Kunming), Chen Jiawen(Kunming), Chen Rui(Kunming), Chen Shuyu(Kunming), Chen Yian(Kunming), Chen Yuyue(Kunming), Dai Danna(Jingdezhen), Ding Aichun(Kunming), Ding Zhangyu(Kunming), Dong Jie(Chengdu), Dong Xiang(Kunming), Dou Zi(Kunming), Efat Razowana Reya(Chittagong, BAN), Fu Meijun(Chongqing), Ge Han(Kunming), Ge Kai(Kunming), Gu Cha(Kunming), Guo Peng(Kunming), Hao Yu(Kunming), He Libin(Kunming), He Jinyi(Kunming), Hu Junqiang(Kunming), Hu Yajiao(Kunming), Huang Chengchun(Kunming), Huang Yuejun(Fuzhou), Jonathan Aumen(Virginia, USA), Jiang Lei(Kunming), Jiang Ruiyu(Chongqing), Jin Dawei(Kunming), Lan Qingxing(Kunming), Lan Pi(Kunming), Lao Er(Kunming), Laetitia Deschamps(Paris, FRA), Lei Ruo’a(Kunming), Lei Wei(Kunming), Lei Yan(Kunming), Li Zhiyang(Kunming), Li Ji(Kunming), Li Rongqiang(Kunming), Li Rui(Kunming), Li Shangwu(Kunming), Li Wanxuan(Kunming), Li Yingxing(Kunming), Li Zesong(Kunming), Lin Shanwen(Kunming), Liu Hejiao(Kunming), Liu Hesen(Guizhou), Liu Hui(Kunming), Liu Kaiyi(Kunming), Liu Lijuan(Wuhan), Liu Xianglin(Shenzhen), Liu Ziyi(Kunming), Lu Xiaotian(Kunming), Lu Jin(Kunming), Luo Bin(Kunming), Luo Fei(Kunming), Luo Wenming(Kunming), Luo Wentao(Kunming), Ma Li(Kunming), Ma Wei(Kunming), Megumi Shimizu(Kanagawa, JPN), Mo Ying(Alabama, USA), Mou Siyan(Kunming), Murong Yaming(Zhengzhou), Nian Jinjun(Kunming), Nie Taiyu(Kunming), Ouyang Heli(Kunming), Shank(Guilin), Shen Linxia(Wuhan), Shu Yang(Kunming), Song Ziping(Kunming), Su Jiashou(Kunming), Su Yabi(Dali), Sun Xunzhi(California, USA), Tang Zhigang(Kunming), Tao Fa(Kunming), Tao Jin(Kunming), Wang Bei(Kunming), Wu Yue(Kunming), Wu Jingmin(Chuxiong), Xia Hua(Oslo, NOR), Xie Xuan(Kunming), Xin Wangjun(Kunming), Xue Tao(Kunming), Xue Xiaoxiao(Kunming), Yan Renkui(Kunming), Yan Wan(Kunming), Yang Hui(Kunming), Yang Xiongsheng(Kunming), Yin Tianshi(Nanning), Ying Borui(Kunming), Yu Tingyang(Kunming), Zai Pengfei(Kunming), Zhang Chenshuo(Kunming), Zhang Hua(Kunming), Zhang Qiongfei(Angers, FRA), Zhang Zhujun(Beijing), Zhao Leiming(Kunming), Zheng Hongchang(Beijing), Zhou Kaicheng(Kunming), Zhou Yang(Kunming), Zhu Sirui(Xuanwei), Zhu Yaqin(Kunming), Zhu Jiuyang(Beijing)

Special Supported by: Tai Project, Qianxian, Jinfulou

curator Luo Fei on the opening speech

opening at Tai Project, Kunming

Exhibition of Not Yet Complete

Descending

Descending
— An Exhibition Review

By Luo Fei

In a room of the cultural space that has been adapted from an abandoned factory, there is a set of installation made of steel on the floor. It’s only as high as the knee, yet it almost filled the entire room. Audiences have to walk along the wall to go around it to observe it. Thick hemp ropes were tied tightly and neatly on the frame. The ropes went through the sleeves and pant legs of T-shirts and pants of different shades of green. They were from local second-hand market. They are either made stretched flat or slightly loosed hanging on the hemp ropes. The whole frame looked like a sturdy safety net, as if to catch fallen objects from the sky. From the knots on the frame and the ink marks whipped on the three pieces of paper exhibiting nearby, one can obviously feel the sense of power and determination.

As you get near this “safety net,” you could vaguely hear a low male voice (Chinese) and a crispy female voice (English) were reading something. Ah, it’s a poem – “Imaginary Routes”. It’s portraying a number of descriptive pictures, from the descriptions of open landscape quickly zooming in to narrations of the human condition. It’s a sound of self-reflection and contemplation. It seemed that the situation was tense. The contemplation and struggle that were hanging right above the earth was readily felt, like a very low cloud floated near from afar. The whole poem was hanged on the translucent paper next to the entrance to the “safety net”.

It’s a work by the Norwegian artist Sveinung Rudjord Unneland and the Danish writer Andreas Vermehren Holm during their stay in Kunming.

Also put on display were some Polaroid photos that Unirande and Holm took on the streets in Kunming. All of them were partially painted green, like the fences used to enclose the constructing buildings. It’s done in a way as if the city is always under construction – in fact that is the case. That is exactly what the exhibition is all about – a visible, never-finished world and an unseen and never-weary crowd in it.

In a society where social Darwinism is popular, life is bound to be an “Ascending Movement”. However, under the logic of the global capitalist economy, the people at the bottom always face the reality of being expelled. They are expelled from where they stay, where they work as well as their former life, and in turn they make a part of the creatures in the biosphere expelled from their habitat. Dignity is simply something too luxurious.

It seems that Unirande and Holm did not mean to present a tragedy, nor a hymn to praise the proletariat, but simply to outline, describe and examine the overall situation of mankind. It’s those who are at the bottom of the social landscape and put in the wide landscape that are interwoven, mutually constructed and stretched to form a solid “safety net”. Because everything will go back to the earth. And everything starts from here.

The exhibition combined the knowledge of the social framework and the contemplation related to existence, and mingled them with their visual forms and literariness. They formed a perceivable and readable passage that invites us to experience the inherent power of this “Descending Movement.”

December 6, 2017

Gao Xiang: Seeking an Eastern Method

Gao Xiang: Seeking an Eastern Method

Gao Xiang is a visual artist, a professor of oil painting at the China Central Academy of Fine Arts and a scholar of the modern Italian painter Giorgio Morandi
June 21, 2013, TCG Nordica Gallery
* This interview was published in the book To Start from Art by Shanghai Joint Publishing house in 2014, author: Luo Fei.

Gao Xiang, “The Dreams: To Feed The Tiger”, 160×120cm, Oil and Acrylic on Canvas, 2015

Luo Fei: I think that you are a unique artist in Yunnan. You paint oil paintings, carry out research and engage in certain cross-disciplinary, cross-cultural art projects. I remember when I first arrived in Kunming in 2000, you were making installations.

Gao Xiang: Right. Before 2000, I created a series of installations. I wanted to make transparent artworks connected to Ming dynasty furniture, which I did using Plexiglas. I was very enthusiastic about installation art at the time, but the artworks cost a lot to make. One table, including materials and labor, cost nearly 20,000 yuan.

Luo: Did you sell it?

Gao: It has remained in my studio (laughs).

Luo: At the time, there were quite a few Kunming artists engaged in installation and performance art, such as Xiang Weixing, Zhang Chongxia, Ning Zhi and Jiang Jing. It was around the year 2000 that performance and installation art were being spread around China, and a lot of young artists were drawn in. It seemed as if using these mediums gave the artists a critical, independent attitude.

Gao: I was very enthusiastic at the time. There was a sense of freshness to it. That experience was very important, and it provided me with inspiration in my painting, spurring me to deal with the relationship between space and painting, with such approaches as painting on Plexiglas.

Luo: Since 2005, you have been painting a series of horses on round pieces of Plexiglas.

Gao: Right. That is in order to explore painting in space. Making installation art brought me in contact with the third dimension, and so I started wondering whether or not painting could also touch space, rather than merely being hung on a wall. I had a good opportunity in 2005, which was to travel to Kirstiansand in southern Norway. It was a contemporary art event to celebrate the centennial of Norway’s independence. Artists from ten countries participated, and I was recommended by Nordica. The organizer wanted us to create outdoor artworks, and I was thinking I could paint on Plexiglas, that it would be really cool to integrate it with the plants in the garden and the sea in the distance. I gained the most that time from working for long periods with Western artists. I learned a lot about Western contemporary art by talking and working with them, and that gave me a true understanding and feeling for their conceptual and performance artworks.

Gao Xiang, “The Dreams: Who is The Doll”, 220 x 300 x 60cm, Glass,Acrylic,Aluminium Frame, Kristiansand, Norway, 2005

Luo: How do you decide what contemporary art is?

Gao: I think there are many basic factors in contemporary art. It can be judged in terms of time or subject matter, or in terms of the idea of the artwork or the medium used. There are at least three or four comprehensive factors through which one can judge whether or not something is contemporary art.

Luo: I remember you painted night scenes for a while.

Gao: Yes, it was called Why Have Night Scenes Become so Alluring? I painted it between 2001 and 2003. I painted this series of night scenes at the same time I was making installations. There were about twenty of them, and they weren’t very big. I was doing a lot of bar-hopping at the time, and I caught a certain feel for the scenes of the night. I wanted to express it.

Luo: How did you end up painting horses? The horse is a classic form in Chinese traditional painting.

Gao: Right. Many ancient and modern Chinese painters have painted horses, painters such as Xu Beihong[1] and Li Gonglin.[2] It was by chance, however, that I ended up painting horses. One day, when I was painting “dolls,” I suddenly added a horse to the picture. I think it was a subconscious experiment. It felt mysterious. I didn’t really know anything about horses at the time; I was just trying to create the atmosphere of the painting. Of course, now I have painted many of them, and my horses have taken on symbolism. Sometimes it is femininity, sometimes it represents nature and sometimes myself.

Gao Xiang, “The Dreams: Lookout”, 180x80cm, Oil on Canvas, 2010

Luo: In the Dolls series, we always saw the figures of “big women” together with “little men.” I don’t think we ever saw “little women” with “big men.” Why is that?

Gao: Actually, much like my decision to paint horses, I didn’t really think about it. It’s just that there were a few times that I painted the men a bit smaller, and it felt interesting. There was this sense of freshness that is difficult to describe. I then started painting the men smaller and smaller, and it was fun. It fit with the feeling I was pursuing.

Luo: What was the feeling?

Gao: Very comfortable, very harmonious, but with latent discord and contradiction. All of my works feel very comfortable and harmonious in terms of color.

Luo: There is a feel to your paintings that is poetic, dreamlike and somewhat dramatic. How do these three come together?

Gao: I think it may be connected to my life experience or my artistic experience. For instance, the sense of theatre or drama is connected to the Southeast Asian art project I took part in from 2002 to 2004 – the Mekong River Project.

Luo: Did you do stage design?

Gao: This was a project connected to the National Theater in New York and sponsored by the Rockefeller Foundation. Each installment brought together about twenty artists from various regions and fields such as dance, music, cinema, theater, choreography, folk puppetry and visual art. For instance, in 2004, I went to Cambodia for a month with famous Yunnan dancer Wen Hui.

Luo: What was your role in this?

Gao: They didn’t actually care what I did. I ended up being a part of the performance.

Luo: You performed?

Gao: I can perform if I want, but I don’t think it’s one of my strengths. At first, I was having a lot of trouble, thinking about how to integrate painting into a temporal artwork, so I didn’t know what to do. Later, when they performed, I would sit to the side and paint, using light to project the painting onto a big screen. My painting would change to the music, the dance and the story, so that they would fuse together in time. These experience have extended onto my painting and now play a role in it.

Luo: Your art has been exhibited internationally quite a bit in recent years. What do Westerners think of your art?

Gao: They mainly think it’s interesting, seeing something they don’t often see.

Luo: The artist list for your last exhibition in Canada included the Gao Brothers, Zhang Huan, Gu Wenda and Cao Fei. Their works contain clear social themes.

Gao: Right. Last year, a group exhibition I took part in at a Paris gallery included works by Ai Weiwei, Cai Guoqiang and Sui Jianguo. Cai Guoqiang’s work is different, but the other artists’ works have heavy sociological elements, touching directly on social issues. The Canadian and French curators thought that my Dolls series contained concealed social issues, such as issues about gender status or psychological gender balancing. My artworks actually aren’t so direct. They are more of a psychological response and experience. The other artists might strike at issues more directly, while I propose my individual mental perceptions.

Luo: The attitude of your artworks is not so direct, and focuses more on visual perceptions such as aesthetics.

Gao: This is perhaps connected to my experiences learning art. I am obsessed with the ontological aspects of art, for instance artistic form, colors, modeling. Their abstract visual effect can influence human perception and emotion. Of course, this has been emphasized in modernist era artworks, but I think that this is one of the most alluring aspects of art, something that is close to the power of visual art itself. It is very important to me.

Luo: Compared to the conceptual, you are more interested in aesthetic experience and visual pleasure.

Gao: I think that the perception of artistic form can allow the artwork to speak for itself. Actually, something I have always wanted to do is see if I can fuse the aesthetic experience, conceptuality and sociology so that they speak together.

Luo: Who would you say is a good model for this?

Gao: In Western contemporary art, there is Mimmo Paladino, Enzo Cucchi, Anselm Kiefer and Luc Tuymans. Their work has achieved an appropriate integration between their experiences of contemporary society, cultural traits, personalized artistic concepts and artistic language. When there are only “concepts” without visual transformation or highly developed artistic language, then the resulting artworks are mere propaganda posters. If they are just textual concepts, then it is better to let the philosophers and sociologists write them. The artist’s work should employ the appeal of visual language.

Luo: Is your focus on artistic ontology what led you to research Morandi?[3]

Gao: Yes. His artworks are very important in terms of the ontology of art. Of course, he is also conceptual. I think that he is a rather successful modern artist in this regard. For instance, most people focus on the color, forms and linguistic rendering of the bottles, but through these, you discover that his concepts are connected to his religious faith. He was a very pious catholic. He went to mass every Sunday. He lived a simple life, like that of a monk.

Gao Xiang, “The Dreams: Trojan Horse”, 180 x 80cm, Oil on Canvas 2010

Luo: This is a lot like the traditional monastic painters of China.

Gao: Yes, but because of their different religions and worldviews, their starting points and resulting expressions were different. Morandi was more directed at God in the sky. China’s monastic painters were connected to Daoism and Zen, aimed more at nature, the fusion between man and nature or the wanderings of the individual. Morandi’s painting was aimed directly at God. These were highly religious paintings for modernism.

Luo: Did he carefully collect those bottles?

Gao: He did. He personally purchased over a hundred bottles and jars. When he brought them home, he would sometimes treat them. For instance, he would take a chocolate jar, and treat it according to the color he wanted, perhaps painting it white, blue or brown.

Luo: Were those bottles from his own time, or were they antiques?

Gao: They were quite normal, water jugs and chocolate jars.

Luo: This is quite different from Chinese literati. Literati figures had a tradition of collecting various types of vessels, such as porcelain vases and bronze vessels, and they cared a lot about their eras and origins.

Gao: I think that Morandi was actually a lot like Chinese literati painters. Some of the more refined literati painters paid much attention to the mundane, discovering truths within ordinary things. This is quite like Zen.

Luo: Which literati painters?

Gao: For instance, Bada Shanren[4] and the Four Monks[5] all painted very ordinary things around them such as squashes, vegetables, lotus flowers and birds. The things Morandi collected were very normal, part of ordinary life.

Luo: We can also see from Morandi’s living arrangements that he led a very simple life.

Gao: It was very simple, even for his three sisters. I have gone through their closets, and none of them owned a single brightly-colored dress. Few people visit his old home, and I was the first Chines person to do so; I may be the last as well (laughs). The house was very simple, no different from that of your average farmer. When he built this house in 1956, however, he was already a very rich man. He could have lived a very luxurious life. He had no material desires at all. When Museo Morandi was sifting through his library, they found many blank checks among his books. These were given by the buyers of his paintings. He could fill these checks out however he pleased, within certain limits, and redeem them immediately, but he was using them as bookmarks (laughs).

Luo: Within Catholic ascetic traditions, there is the belief that simplicity is wealth. The simpler your external life, the richer your inner life.

Gao: His later studio was a bit bigger, but it was still only 40 square meters. His earlier home in Bologna was only nine square meters, including his studio. His material life was very simple, but he enjoyed great spiritual wealth.

Luo: Let’s get back to your artworks. I think that your art has a certain Eastern quality.

Gao: Thank you for that complement (laughs). To me, that is quite a compliment. As a student and later as an artist, I have visited many Western countries, and I gradually came to understand that I must seek out inspiration from Eastern traditional ideas or aesthetics in order to create artworks with originality.

Luo: What experiences does this inspiration draw from?

Gao: The first source is aesthetic ideas. For instance, in traditional Chinese painting, you often find very lofty metaphysical meaning. Also, I draw from the figurative schemas of traditional Chinese art. These two things are both quite far from Western classical, modern and contemporary art. I think this is a good thing, particularly in this era of globalization. Without this distance, we would all become the same, losing the artistic value that is rooted in individualization. That is a fundamental view for me. From the East, I seek out forms, perceptual methods and inner spirit that differ from those in the West.

Luo: Give me an example.

Gao: For instance, Chinese painting focuses a lot on emptiness, which is quite different from Western aesthetics. Chinese people view the blankness in the picture as the sky or as water, but in reality it is just blankness. Westerners with no experience of Chinese traditional painting may think that it is an unfinished painting, a sketch, and that the blankness has no meaning. The Eastern tradition also places a lot of emphasis on aesthetic experience that transcends reality. For instance, very few Chinese paintings of the last 2000 years depict war scenes, but we all know that China was no less warlike in this period than any Western nations, with battles of great size and brutality that produced profound memories. The Chinese never expressed these brutal memories. Their expressions are of ideal states, even fairy realms that transcend this suffering.

Luo: You are saying that this spiritual mindset needs to be expressed in contemporary art.

Gao: Actually, this Eastern transcendent state is particularly precious in our increasingly materialistic and ever-accelerating contemporary society. This was done long ago in Japan and Korea, so many Western critics believe that Japan and Korea are today’s inheritors of Eastern Zen aesthetics. For instance, the Japanese Mono-ha School[6] approaches art from Zen philosophy. I think that Chinese contemporary art has paid little attention to this type of artistic path in the last twenty years.

Luo: This is connected to the overall progression of society. Japan and Korea completed the modernist transition of their societies long ago. China overall is still in a pre-modern period. The greater backdrop determines how far an artist can go.

Gao: I really agree with that. This is connected to the state of a society’s development. Of course, I’m not saying that any contemporary art that draws from Eastern philosophy is good, just that I think this path has value.

Luo: Let’s talk about life. You’ve been working in both Kunming and Beijing over the past few years. What are your impressions of these two cities?

Gao: I have a pretty big studio in Beijing, where I can paint large paintings. When I’m back in Kunming, I have a studio at the Yuan Xiaocen Museum, where I can paint smaller paintings. Beijing is China’s cultural center, and you can see world-class exhibitions and artworks there. But the natural environment in Beijing is very poor. It is very cold in the winter and very hot in the summer. Life is rough there. Kunming is very livable, very comfortable. You really feel like you’re living. But there’s a distinct lack of cultural exchange there. Beijing is a lot more vibrant.

Luo: Do you think that you create better art in Beijing or Kunming?

Gao: That’s an interesting question (laughs). I think that a little more than half of my best works are created in Beijing.

Luo: It would seem that artists need pressure (laughs).

Gao: Right. Beijing is full of passion, and it’s also constantly giving you stimulation and pressure.

Luo: Thank you for giving this interview. I really enjoyed talking with you today.


[1] Xu Beihong (1895-1953), originally Xu Shoukang, was a Chinese modern painter and art educator. A forefather of modern Chinese art, Xu was known not only for his paintings of galloping horses but also for his ability to fuse Chinese and Western painting techniques to create a unique artistic style.
[2] Li Gonglin (1049-1106) was a painter in the Northern Song dynasty. His surviving works include Five Horses and Herding at Lin Wei Yan.
[3] Gao Xiang, Quiet Observation of Space, People’s Fine Arts Press, 2011. This book researches the work of 20th century Italian painter Giorgio Morandi, seeking out the roots of his artistic style through analysis of his painting forms, artistic views and attitudes towards the world in order to assess the artistic value of Morandi’s paintings.
[4] Bada Shanren (ca. 1626-1705), born Zhu Di, was from Nanchang, Jiangxi Province, and lived during the late Ming and early Qing dynasties. Bada was a member of the Ming dynasty royal family and a famous painter, one of the “Four Monks” of early Qing dynasty painting.
[5] The Four Monks were four Buddhist monk painters from the late Ming and early Qing dynasty. All were adept at landscape painting and were highly expressive in their work. They preferred innovation over imitation. The four monks were Yuan Qi (also known as Shi Tao, 1642-1718), Zhu Da (also known as Bada Shanren, ca. 1624-1705), Kun Can (1612-1692) and Zhe Jiang (monk name Hong Ren, 1610-1664).
[6] Mono-ha was a Japanese school of modern art that emerged between 1968 and 1971.


Translated by Jeff Crosby
阅读本文中文内容

From Pets to Animals

From Pets to Animals
—— Li Ji’s animal painting and photography

By Luo Fei

Li Ji was known by the art world in the1990s and early 2000 for his series “Ladies and Pets”, which depicted some well-dressed ladies with different animals, implying a delicate interdependent relationship between them. This series is slightly erotic, humorous and yuppie. The ladies and pets in these photos are not actually themselves but roles being shaped by some kind of culture. Besides, since either ladies or pets have been carefully domesticated by their “masters”, they know not only how to please their “masters”, but also how to show their soft and tamed side. However, their “masters” are not in these paintings, because what indeed tame the women to sexy ladies and animals to pets are invisible but ubiquitous consumerism, patriarchalism and anthropocentrism.

For Chinese contemporary art in the 1990’s, the artists were generally vigilant, or could be said as having not yet adapted, to the rise of consumer society, hence they usually expressed severe criticism to the human alienation and physical materialization in the consumer society. Similarly, the world revolved around patriarchal society and anthropocentrism reached its domination and possession by the materialization of women and animals.

Li Ji revealed in this series not only his interest and thoughts about people – the “ladies”, but also his knowledge and extraordinary love to animals – the “pets”. Grown up in a family of intellectuals, Li Ji has shown a strong curiosity about all kinds of knowledge since young especially in biology. He is even more familiar with his mother’s books than herself. His interest in the living conditions of animals around the world is so strong that he always dreams of going to Africa to see the wildlife.

Li Ji started his wildlife discovery in 2009, when he just completed the “Ladies and Pets” series and then photographed wild animals while visiting national parks and nature reserves with his wife in India, Nepal, Sri Lanka and other domestic places like Yunnan, Tibet, Qinghai, Hoh Xil and so on. In every trip he would return with countless adventurous stories and fantastic wildlife photos, even though he has encountered with the danger of life and death several times.

As an artist, Li Ji responds to the rapid disappearance of wildlife in the world with the conventional means in visual art. From 2009 to 2011, he painted a series of modified masterpieces of Western art history, such as Miller’s “Late Prayer”, Goya’s “May 3rd, 1808 Nightmare” and Manet’s “Lunch on the Grass”, turning these human’s godliness, gallantry and livelihood into a denouncement to the tragedies of the large-scale massacre mankind implemented on wildlife. In this series, by misappropriation and codification to the masterpieces in art history, Li Ji responded to the world’s classic contradictions: Does human develop and evolve at the cost of eliminating animals (especially large animals) ? Furthermore, will this irresponsible and insatiable destruction of anthropocentrism be the final call of mankind in world history? In contrast to his critique of consumerism in the ” Ladies and Pets ” series, the critics and allegories of anthropocentrism are simpler in painting style but are filled with deep compassion.

Artists tell the story of world history with the story of art history. It is interesting that it is the artist – we – this group of Homo sapiens who have the ability to tell the stories, and turn these imaginative things such as art, justice, history ultimately into the common values and social norms. In the view of researchers of contemporary human history, it is precisely because of such a “cultural evolution” about the “cognitive revolution” that begun 70,000 to 30,000 years ago, making Homo sapiens on the road of “gene evolution” leave the animals far behind, and thus began to rule the animals.

In the 18th century, one of the four pioneers of the French enlightenment, Buffon assumed: “Human domination of animals is a lawful rule that can not be destroyed by any revolution. Which is not only a natural right, a power based on some eternal principles … people have thought, so he becomes the master of all creatures without thought at all. “A the same time, aware of the animal’s misfortune: “Let the animals feel uneasy and fearful, let them flee, let them become more wild than the nature is human, because most of the animals are only calm, safe, controllably and unharmfully breathe the air, eat the food on the ground. “(Quoted from Buffon ” Natural History “).

However, the glory of human nature after the Enlightenment, the Industrial Revolution, the revolution in science and technology, the expansion of Homo sapiens in the world may have long been not only to disturb the animals but also the earth, including human beings themselves. Of course, from the history of the evolution of the world, the mass extinction of animals did not begin in any campaign in the past two or three hundred years, but began 70,000 years ago with the birth of Homo sapiens. Only the industrial revolution exacerbated the extinction of species, not just terrestrial creatures, but also marine life. So, for those who live today, to record and describe the animals who are expelled by human and are still disappearing, means personal comfort or self-examination and change in human’s own crisis?

In recent years, through trips in the wild nature, Li Ji has photographed the hovering buzzard in the sky, vulture, long tail lobular monkey playing in the jungle, vigilant leopard on the road, brown bears foraging in rubbish, the rare Bengal tiger。。。As Yuval Noah Harari, a contemporary Israeli historian, wrote in his book, A Brief History of Humankind: “From ancient times to the present, the whole animal community has suffered the most important and most damaging power from this group of homo sapiens wandering around and telling the story”. But in Li’s painting and photography, wandering around is no longer the story telling people, but the animals constantly on the alert of people.

Since 2012, Li Ji has created a number of paintings of single small wildlife in the studio, such as African spotted hyena, black-backed jackal, Asian jungle cat and Cambodian bison. These animal images are mainly derived from Li Ji’s own photos or related books, as he tries to avoid the dramatic sense that normally presented in this kind of pictures, to show their daily lives instead. Owing to his understanding of animal habits and physical structures that learnt since his childhood, his modeling ability built up in academic studies, and ability to capture the decisive moments in photography, Li Ji is good at epitomizing and capturing the shapes of different species of animals vividly and accurately, supplemented by some lines and colors, so that these animals are more dynamic and expressive, while maintaining their natural beauty.

As an artist, Li Ji also regards his painting in this stage as an exploration of “return to painting”, which could be interpreted as a balance to the excessive conceptualism in contemporary art world. This idea of returning to media has been expressed by more and more artists in recent years not just in painting, but also in other media such as performance art. Li Ji, however, did not return to the formalism painting which abandoned meaning and cultural functions. He was exploring another possibility of expression contemporary painting.

In the West, ecological criticism has become an urgent proposition both in the field of cultural studies and contemporary art since the 1980s, for people realized that art can not be simply appreciated without common life scenes and cultural connotations. By ecological and ethical criticism, artists, curators and critics re-examine the increasing desertification, and the conflict among natural deterioration, drastic animal extinction and human invasion. Today, this kind of environmental-oriented scrutiny and criticism has become a global theme in contemporary art. In this sense, Li Ji’s animal photography and paintings will provide the most basic textual support for ecological art.

Nowadays, the animals hanging around us are neither domesticated animals nor objectified animals being consumed in “Ladies and Pets”. They wander, forage, seek for a home and try to live together with mankind. At this moment, what are we searching for?

Jun. 16th, 2017

FROM PETS TO ANIMALS – Li Ji Solo Exhibition
2017.07.08 – 08.26 / 10:00 – 18:00
ANART OFOTO Gallery
​2F, Building 13, 50 Moganshan Rd., Shanghai, China

Painting Makes the Soul Visible

Painting Makes the Soul Visible (excerpt)
Essay on Bai Xuejuan’s Art
-By Luo Fei

On a number of palm sized notebooks, a great many variety of colorful patterns filled the pages. There appear to be some traces of natural growth. One of the covers reads: I’m afraid of waking up, for the dream would be gone. The one who didn’t want to wake up from her dream is Bai Xuejuan, a painter from Yunnan and is now living in Gejiu, a small city in southern China only about 200 kilometers away from Vietnam. She’s a high school teacher there. However, she’s been painting about Nordic islands in recent years: places where human beings are few, forests deep, and iced rivers flowing.

This is due to the residence program that Bai joined in the Nordic Watercolor Museum between February and April 2011 in Sweden. For this three months program on Tjörn, she witnessed how the ice melted in Scandinavia, and the rigid winter changed to the warm early spring. She spent these whole three months in her cabin next to the Pacific. Two diaries were jotted down and countless watercolors painted. And only a few new friends visited her occasionally. The minimalism manifested naturally around her in Northern Europe began to fascinate her. Even back to the mountains of Yunnan, those images related to the Tjörn kept coming back to appear on her paintings. I can feel the characteristic transparency unique to the Nordic in both her watercolors and oil paintings, light and thin, loose and soft. The free-flowing in her paintings is reminiscent of Edvard Munch. Just that one doesn’t sense the desperate darkness, but the bright and poetic flowing.

For Bai Xuejuan, cultural collision and blending are external and concrete, and she does not study art as a cultural matter. When it comes to art, by following the experience deep inside of her heart, she’s been continuously recording like diaries the trajectory of her inner feedback on life, surroundings and her own feelings. She captured in her paintings those moments like cruising the sea, walking in the night or strolling aimlessly. Those are the times that the burden of reality was kept at a distance, and the ones for thoughts and drifting away. To drift is both for the soul to breathe and to escape.

Rather than delving into the texture of a particular piece of leaves or a stone on the ground, Bai does not regard the world as a stable substance, but a series of flowing, breathable and free forms. Going up and down, they are plain and simple, yet grow like a poetry. They are as free as if one falls into a trance. At this very moment, painting makes the soul visible.

Multiple Adaptations: from Poem to Poem, from Poem to Visual Art

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Multiple Adaptations: from Poem to Poem, from Poem to Visual Art

The Amsterdams Grafisch Atelier and TCG Nordica, an art center in Kunming (China) joined forces in a transnational project that, focuses on the interrelation between text and image, specifically between Dutch and Chinese poetry in translation and art works inspired by them.
Six Chinese participants based their paintings and drawings on poems by H.H. ter Balkt , Hans Faverey, Chr.J. van Geel, Gerrit Kouwenaar, M. Vasalis and Ellen Warmond, translated into Chinese by Maghiel van Crevel and Ma Gaoming. Each of the six poems are enigmatic texts full of paradoxes and opaque meanings, that present an enormous challenge to the translator, at the same time providing the visual interpreter with ample space for a non-illustrative approach.
Six Dutch printmaker/artists produced monumental prints inspired by poems of the famous contemporary Chinese poet, author, and filmmaker Yu Jian. “Staunchly unlyrical” and making his readers “see eternity in the most everyday and unexpected places” (Simon Patton), Yu Jian’s poems present their visual interpreters with the equal challenge of tuning into the foreign voice, searching for affinities, and keeping their own idiosyncratic vision.
To facilitate comparison and analysis, all works are shown jointly with the texts that are printed on banners, forming thus an integral part of the exhibition. Both partners of the project stress the performative nature of the project by reading and performing the poetry at the opening and in separate programs.
The initiative for the exchange came from Ursula Neubauer, an Amsterdam artist who had visited Kunming in the fall of 2012. The project has been worked out and coordinated jointly by Luo Fei, former director of TCG Nordica and Ursula Neubauer, representing the Amsterdams Grafisch Atelier.
The event in Kunming took place, with great success, at the gallery of TCG Nordica between April 24-May 31, 2015.
See: http://en.tcgnordica.com/2015/multiple-adaptations

In Amsterdam the project will be presented at SBK KNSM/ Bagagehal
from October 18 through November 1, 2015.
The opening will include a performance. Speakers and readers are Kristien van den Oever, director of the Amsterdams Grafisch Atelier, Yi Lai, Chinese poet and literary scholar at the (Central China Normal University, Wuhan). G.W.Sok, singer and poet and Christianne Rugl Communication Manager. Performance artist Nienke Dekker will interpret two 2 poems of the exhibition.
Sunday November 1 at 3 p.m. a closing music program, from poem to visual art to music by The And.

Perdu, centre for poetry and experiment, will present a related program on October 21. The participants of the panel discussion are Yi Lai, Maartje Smits and Sofie Sun.
The participating artists are: Ning Zhi, Chen Fanyuan, Su Yabi, He Libin, Su Jiaxi, Chang Xiong, Herma Deenen, Christina Hallström, Ursula Neubauer, Naan Rijks, Angelique van Wesemael, and Masha Trebukova

Opening of the exhibition: October 18, from 3 to 6 p.m.
SBK/Bagagehal
Address: KNSM-laan 307-309, 1019 LE Amsterdam
Tel: +31 20-620 13 21 email: amsterdamknsm@sbk.nl
Open on Tue thru Fri: 10 a.m. to 6 p.m. Sat.Za/Sun. from 11a.m. to 6 p.m.
Reachable by tram #10, end stop Azartplein, by bus #48 from Sloterdijk Station and Central Station, by bus 65 from stations Zuid and Amstel.

For further information: www.multipleadaptations.blogspot.com