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边想边写

日常在诗意中冉冉升起

苏亚碧2010年裙子、镜子、刷子、梳子

日常在诗意中冉冉升起

——关于苏亚碧的艺术

文/罗菲

在许多人看来艺术似乎是“无用”的,然而艺术之所以还“有用”,就是因为艺术家为我们打开了一扇崭新的窗口,让我们从那些平凡得不能再平凡,琐碎得不能再琐碎的日常经验中看见另一层被遮蔽的现实:诗意现实。在那些表现诗意现实的艺术品中,它们往往提醒人们慢下来,凝视周遭并反馈给内心,内心再通过艺术这样的特定形式将其骚动不安的状况表现出来。

对心灵的表达是一些本土艺术家的共同关注,通过对心灵的描述和追问,艺术家完成了从手艺人到心灵守望者的升华。来自大理的艺术家苏亚碧即是其中一位心灵守望者。苏亚碧1998年毕业于云南艺术学院油画专业,自大学时期开始,苏亚碧着迷于描绘房间里的日常什物,如除尘用的毛刷、别针、衣柜、梳子、衣裙及梳妆台等家用物品。她以绘画和编织铁丝的方式为这些日常什物赋予个人化的情感和心智,编织起一层层诗意现实的薄纱。

苏亚碧绘画中的诗意,我理解是一种温和的漂泊感。那些画中的日常什物给人一种失重后在空中缓慢漂移,冉冉升起的印象。衣裙如梦游仙境,围巾如潮水涌出,别针总是不愿将最尖锐的那头藏起来。这样或那样的物品从抽屉和衣橱里出走,似乎要脱离既定秩序与中心格局,去寻求更加自由自在的状态。这一切都以某种温和的方式进行着,甚至以回忆的形式来描述它们的抗命状态,因为画面中总是出现相同的那几件与艺术家记忆深处有关的物品。它们从体制化的缺乏想象力的空间里挣脱出来,这种出游,即是抗命,即是漂泊。

因此我说那些什物都拥有了心智,成为对人存在状态的象征。在苏亚碧的艺术中,我看见人作为敞现诗意抗拒无意义的存在,人作为追求自由抗拒宿命的存在,人作为超越物质抗拒异化的存在。在这个层面上,艺术以看似“无用”的方式完成了“最为有用”的功效,即确信人作为精神性存在,并以此引起他人心灵的共鸣。

看苏亚碧的艺术,我们只需与她一道放慢脚步,凝视片刻,倾听内心。那一刻,日常在诗意中冉冉升起。

2014年10月16日夜

suyabi-poster-web

日常诗境——苏亚碧的记忆空间

策展人:罗菲
艺术家:苏亚碧
艺术评论:廖雯
学术主持:孙国娟
展览开幕酒会:2014年11月8日晚上8点
展览日期:2014年11月8日至12月3日(周日闭馆)
展览地址:昆明市西坝路101号创库艺术社区,TCG诺地卡画廊
主办:TCG诺地卡画廊
协办:大理学院艺术学院
电话:0871-64114692
网址:www.tcgnordica.com

日常诗境──苏亚碧的记忆空间

文/廖雯

2002年夏天我去大理避暑,昆明的艺术家孙国娟说,大理下关,有个女孩儿叫苏亚碧,画得很有感觉,你去看看。以我的书本常识,凡以“下关”命名的地方,都是天然形成的水陆交通要道,想来大理的这个下关也不例外。而当我从昆明坐了几个小时长途汽车,终于站在大理下关,眼前的景象却无论如何与“下关”这个名字带给我的想象对接不上。

记忆里当年的下关镇,只是一大片零乱的简易楼群,在明丽的苍山洱海之间显得格外狼藉。苏亚碧带我在她居住的小镇穿梭,我习惯性地调动所有感官感受这个新地方。以我特别的好奇心和观看能力,经常可以看见别人看不见的东西,而这个没有任何审美归属感的小镇,几乎没有可以着眼的细节。

那时,大约苏亚碧刚毕业不久,和几个年轻的艺术家合租了电池厂的一间厂房画画。印象中这间厂房几乎是空的,几根粗糙的水泥柱子歪七扭八,满地剥落的白灰墙皮七零八落,凹凸不平的水泥地,凹陷处甚至还汪着水,曲曲折折废铁料焊起来的防盗窗,无情地将窗外的蓝天白云切成碎片……几个年轻人的画,没有明显的分界,靠墙地下一溜摆过去,色调昏暗。

令我惊异的是,这种审美系统被彻底粉碎的、令人尴尬的风景,在苏亚碧画的画中却是别样的美好。苏亚碧以私密的视角,触摸着日常的零散事物,室内的衣柜、床、灯泡、门锁、衣裙、围巾、雨伞、梳子、刷子、拖鞋、别针种种,以及透过防盗窗的铁栏,从内向外可见的烟筒、高压线、电视塔、楼房、汽车、水龙头等等,从外向内可见的女人内衣、牙缸、暖瓶、钟表、椅子等等,都被散漫地放在画面各处,造型、比例、颜色、位置,都不甚合理(有些几乎是飘在空中),却完整地笼罩在一种细腻、温情、朴素的情调之中。画面的色调似褪色的旧照片,偶然有节制地使用灰度单色的画面,也如上色老照片,笔触塑形模糊、平面、散漫,仿佛是漫不经心地抚摸过记忆里细碎的物件,任感觉雾一样地流淌,在平庸和琐碎的日常中,为营造出诗一般的境地。苏亚碧称这些作品为《记忆日常》:“一直想用视觉日记的方式记录我的生活片段、我所经历的场景,在画布上用极为节制的颜色来还原它们的松弛与朴素(苏亚碧语)”。

之后,苏亚碧开始用一种精细柔韧的金属线,编织她反复画了多年的日常事物,平面的笔触变成了立体的编织。“编织”是女人最熟悉的方式,女人的日常生活很多是编织出来的,用线编织衣物、用竹子编织用品,用情感编织爱。编织对于女人不仅是一种制做形式,而是一种生存方式。苏亚碧用金属丝编织的日常物象,视觉上空而眩,“实在”仿佛被抽空了,一根一根看得见、摸得着的闪亮的金属丝,依稀勾勒出的物件形象,分明又与日常相连。我想,这亦虚亦实的意象,更贴近苏亚碧心中的“记忆”,而编织的类似修行的过程,“还原我的许多记忆(苏亚碧语)”,也结进了她日常的心境。

其实,描绘和编织,对于苏亚碧来说,心绪与手感的对应关系是一样的。苏亚碧的一些描绘和编织混合的作品,视觉和感觉上都更加细腻和丰富。

看苏亚碧的作品,我心底常常弥漫起一种温暖的感动。在这个信息纷乱、价值混杂的时代,在那个最平庸的小镇最无奇的日常生活中,能够保持诗一样心境和观看能力的女人,心底肯定有一份超常的美好和敏感。

2014年9月于宋庄

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English Posts 边想边说

Her Poetic World and Passionate Mind: An Interview With Su Yabi

Her Poetic World and Passionate Mind: An Interview With Su Yabi

By Luo Fei, the Curator of TCG Nordica Gallery

Date: in the morning of July 5, 2014

Location: Dali Experimental Primary School

Luo: Could you please make a brief introduction about your art experience?

Su: I graduated from the Affiliated High School of Yunnan Arts University in 1994 and from the No. 2 Oil Painting Studio of the Department of Arts in Yunnan Arts University in 1998. When I was a student, I began to pay close attention to everyday objects around me in my painting and recently I stared to involve other materials in my works. Actually, these everyday objects in different stages are not the same for me in my heart.

Cabinet, Oil on canvas, 115x150cm,2012
Cabinet, Oil on canvas, 115x150cm,2012

Luo: What inspired you to draw these everyday objects?

Su: I was alone at the dormitory when I was in my university. The dormitory was particularly quiet, and many things scattered in the dormitory and windowsill. At that time, the view outside the window was not so charming, with not well-organized factory complexes and a big chimney, especially when the smog rolled up from it, a sense of melancholy devoured me, yet, it was poetic to me. I started to draw them in my sketchbook and Xuhui Mao, my teacher, caught a sight of it in his class. Then he carefully observed each page and asked some questions. He encouraged me a lot, driving me move on in the process of painting these objects.

Luo: Could you please share with me something about the brush in the picture?

Su: This long brush was used to make bed in my family when I was a child. As a scrubbing brush, it made beds smooth and tidy with just a gentle move. I thought its shape was unique and attractive, and full of magic, so I favored it at an early age.

Luo: How about the wardrobe with mirrored the scenery?

Su: While I was drawing the wardrobe, the indoor and outdoor scenes and objects were reflected in the mirror of the wardrobe, which formed a fancy vision.

Luo: Later, we see the tidal spindrift flowing out of the drawer in the wardrobe.

Su: It is just a visual change. Actually, it is a scarf, but looks like spindrift visually.

Luo: Yes, you portrayed it like tidal water pouring out, which filled with Magic Realism feeling. It recalled me the magic wardrobe in the movie “the Chronicles of Narnia” in which a world of myths exist.

Su: That is true; at that time, I was fascinated with this kind of painting. Therefore, I intended to make it look magic. I painted it in the end of 2012, which was regarded as the doomsday by a large number of people even if I did not believe it. In addition, some small earthquakes happened several times in Dali and some precaution trainings against earthquake were frequently organized at school, so some anxious mood and inclined houses were expressed in it. However, when I was portraying this scarf, I tried to avoid its real appearance as far as possible. I am glad you can sense its magical feeling.

Luo: Why the pin appears in many of your paintings?

Su: Well, it is a kind of visual needs.

Luo: These pins were open which are the only sharp-pointed ones in the pictures and can cause harm to a person if he is careless. Although the entire painting is very calm and very stable, there is always a sharp-pointed object inside. Is it a metaphor for your inner world?

Su: First, it is for the aesthetic account. If it is closed, it will not look like as beautiful as the open one. In addition, I prefer the low-key objects even if it’s sharp. It is peaceful as a whole, but also retains the unique character. Just like human being, keeping one’s personal individuality, the pointed parts, do matters.

Luo: What do you want to express through your paintings?

Su: I want to express myself by drawing, which has become a very important part of my life and has already accompanied me for many years.

Luo: Your paintings are filled with poetic feeling.

Su: That is what I focus on when selecting the items to describe.

Luo: How do you make them full of poetry?

Su: I don’t think it’s I who make them poetic, but they themselves are full of poetry. For example, the smoke rolling up from the chimney gone with the wind gently and slowly is poetic, so is the simple and delicate pin, whether it’s open or curved, it is elegant.

Luo: Some of your works are made of iron wire, when did you start this?

Su: One day in 2008, by chance, I saw some friends making jewelry with tiny and pliable metal wires at a friend’s place and I joined. It recalled me the bird-nest that my father made for me when I was a little girl. With some cotton bird eggs in, it once brought a sum of happiness for my childhood. I earnestly wish that I could make a basket in metal wire at that time but failed to make it as I wish, which frustrated me. That day in my friend’s place, I realized the key to this material. Its function is not only restricted in decoration and then I fall in love with it. There was no symbolic significance in the metal wires of my paintings. What intrigues me is the simple and flexible character of the wires. The thread is closely related with fragility, inability, fickleness in my world, but the metal wire is ductile, which can be hard or soft, straight or curved, adding the creativity of my works.

Sometimes I doubted myself for being too conservative to make a breakthrough whether in concepts or the materials. However, for me, it is too difficult to create or design something that is not related with my daily life. If I betray my heart, I will fell a sense of splitting up with the reality. In fact, even if I have been keeping painting everyday objects since 1997, I did made some adjustments and breakthrough in each stage with an overall look. Since the masters did so, I began to trust myself and be brave again.

Luo: What do you think of the detailed changes in your work over the years?

Su: I have focused on painting everyday objects or everyday scenarios starting from 1996, in canvas and paper. I tried to use conventional materials, such as charcoal, pencil, propylene in the canvas. Painting for me should be free, and what matters is all of these can be placed in the same isomorphic level. In 1999, I began to draw on paper. The relaxing and unadorned style attracted me greatly. Moreover, it is closest to my everyday life. I have been looking for the simple and ordinary “everyday feeling” no matter in the canvas or paper. In 2008, I felt like seeing an old friend at the sight of the metal wire at my friend’s place because the line for me is the simplest and most essential expression way. Whether painting with lines or weaving in metal wires, what draws in me is the contradictory feature of being simple and feasible. I joined the Needlework with Wen Liao as the curator, initiating the creation of works blending drawing, knitting and embroidery.

Bed, Oil on canvas, 110x80cm, 2014
Bed, Oil on canvas, 110x80cm, 2014

Luo: You are one of the artists who took part in Nordica International Project very early, such as “Sugar and Salt” in 2003. Looking back this project, how do you evaluate this project? What is the effect on you?

Su: The participants not only included the artists but also litterateurs, scripter. People from different fields assembled, working together, which was fresh for all of us and deeply affected us. I still remembered clearly that a Swedish artist, whose work is designing with textile, knitted a non-objective figure in woolen yarn then immersed it into the sweet water. After a while, it became erect after taking out of the water. It was so magic and funny, which triggered my curiosity about everything, especially the materials.

Luo: Except that, you also took part in another project- Bridge in 2012, with 10 years’ span. Is there any changes compared with the former one?

Su: Yes, the most obvious one is that all the artists are female in the first time while there were some male artists joined for the second time. As for the manners of working and works, one is feminine while the other is rather masculine. Of course, I like both of them. Libin and you also attended in “Bridge” project with some male Swedish artists. The common character is all the Swedish artists of both projects, both male and female, are more independent and more active. In “Sugar and Salt”, the impact and collaboration between artists were emphasized, and communications were carried out in games or in the process of creativity. While in “Bridge” project, we worked more independently to keep individuality. In addition, they also provided us opportunities to collaborate jointly. We could pay visits to their studios in Sweden, which filled with freshness and strangeness.

Luo: Do you think is it important to distinguish female artists and male artists?

Su: I don’t think so. However, I feel obviously different. In first project, we did not have any detailed plans, so we advanced the project at will. However, in “Bridge” project, each person had to finish the tasks allocated high-efficiently. The division of labor was very clear and you have no time to waste. The differences might be related to the characteristics of the projects. In “Sugar and Salt” project, we got more surprises in the process of continual experiments, for the project spanned a long time, which granted us more time to try. Moreover, the field of Nordica was large enough for us to do more experiments.

Luo: How do you think of the feminist art?

Su: I think this is a manner.

Luo: Is it a strategy?

Su: It’s not a strategy but a way to experience, to see and to express. In 2002 Guojuan Sun told me all of the activities and artists in “Long March-A Dialogue with Judy Chicago in Lugu Lake” are related with feminist art. This was my first contact of feminist art activities. However, even now, the feminist arts still fail to get her due respect and understanding, for we often heard people describe the works of some female artists “too soft” “too feminine” or any other superficial vocabularies. The female artists were just regarded them as the setoffs of the male artists, rather as an independent and integrated individual. In addition, the concept of feminist art is too conceptual and often is misinterpreted, the characters such as ‘soft’ or ‘tedious’, ‘exquisite ‘are not the elusive to female artists. Some male artists also have these features in their works.

Luo: You often went to participate in some exhibitions held in other places, what do you think of Yunnan’s artist?

Su: They pay close attention to everything closely connected with their life. They respect for themselves, and do not ingratiate themselves with anyone. I really appreciate the artists in Yunnan Province. When I attended the exhibition in Beijing, I found their works special. They were not eye-catching and conspicuous at first sight, but they were full of sincerity with immersed love for life and warmth touched by the environments.

Luo: Is art to express one’s inner world?

Su: Everyone’s need for art is not equal. For me, art is to express myself, to record life, or to explore the artistic languages in different phases. It changes with my experiences. In addition, the other important factor is what I want to express in the bottom of my heart. As for the way how you express it, it is advised to go back to the construction of artistic language. If there is no support of the artistic languages, our minds and ideas will be unknown, even misinterpreted.

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折腾项目

桥梁:一个连接瑞典和中国艺术家的项目

桥梁

一个连接瑞典和中国艺术家的项目
……日常事件、运动模式、生命线……

展览简介:
“桥梁”让你想到什么?连接、互通、交叉、传输、跨界、互动、彼此了解、信任、没有阻碍……我们希望让一切有障碍的、被遗忘的事物和人能够连接在一起。

2010年10月8日,国庆收假的第一个周末,昆明创库TCG诺地卡画廊将为大家带来一个名为“桥梁”的艺术展,展览源于一个名为“桥梁”的艺术项目,由四位瑞典艺术家发起,与居住在云南的七位中国艺术家共同合作的艺术项目,旨在通过艺术方式为不同文化、记忆和国度的人群搭建相互认识、沟通和信任的桥梁。(更多项目详情附后)

参展艺术家出生于不同的时代和国家,有上世纪40年代50年代的中坚力量,也有70后80后的新生代群体,因为艺术相遇在一起,寻求互信与合作,在一起创作展出。此次展览包含一件以中国艺术家与瑞典艺术家共同合作完成的关于彼此国家印象的集体装置作品,也包括了每位艺术家以“桥梁”为主题的个人作品,它们有关童年记忆、个人经历、信仰、民族、文化以及当下发生的公共事件,展出作品囊括了装置艺术、录像艺术、互联网艺术、行为艺术等新兴艺术样式,也包括绘画、摄影、雕塑等传统艺术样式。此次展览将是今年云南艺术群体与国际艺术家合作展出的重要事件,也是近年来云南本土展览中艺术样式最为丰富的一次展览。而此次在昆明创库TCG诺地卡画廊的展览只是“桥梁”项目的第一站,该项目将会在明年夏天于瑞典乌普萨拉博物馆艺术家们合作创作的另一部分。值得我们期待!

项目协调人(瑞典):
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling

展览策展人:罗菲

参展艺术家:Kajsa Haglund, Anders Rönnlund, Sanne Sihm, Johan Fremling, 和丽斌, 郭鹏, 程良春, 苏亚碧,孙国娟, 雷燕, 罗菲

展览开幕酒会: 2010年10月8日(周五)晚上8点
展览档期:2010年10月8日——10月30日

展览地址:昆明创库TCG诺地卡画廊(昆明西坝路10号)
电话:0871-4114692
网址:http://www.tcgnordica.com

桥梁

孟安娜,Arts Nordica(www.artsnordica.com)国际文化协调员,2007年春天与乌普萨拉Kajsa Haglund取得联系。孟安娜长期工作和居住在昆明,同吴月蓉女士共同建立了一个北欧—中国文化中心——TCG诺地卡。今天这个文化中心正在由吴月蓉女士、中国艺术家以及TCG诺地卡共同带领着。

以下的艺术家已经收到由TCG诺地卡画廊总监罗菲(同时也是策展人、艺术家)发出的正式邀请。展览开幕式定在2010年 10月 8日。

瑞典受邀到艺术家是:
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling
所有瑞典参展艺术家均是专职艺术家,KRO(瑞典国家艺术家组织)的成员。

中国参展的艺术家是:
和丽斌 艺术家/云南艺术学院教师
郭鹏 艺术家
程良春  艺术家,文化协调人
孙国娟 艺术家
苏亚碧 艺术家/大理艺术学院教师
雷燕 艺术家
罗菲 策展人/艺术家

项目宗旨:

随艺术活动的展开,我们将测试和分析如何深入发展两种文化间的合作,以及建立互信。我们希望改变态度,找出交点,通过画展和两国孩子的教育工作为共同探讨创造机会。这个艺术事件将同中国艺术家合作,最后促成在中国和瑞典举办的两次展览。作为艺术家的我们能否通过创作来贡献一种更好的理解方式?我们希望通过对话,使用或不使用词语,来达到反思。通过艺术项目有没有可能达到态度的转换和开启其他感官?我们的目标是用积极的对话来搭建跨界的桥梁。

实现:

基础方案已经设定;瑞典艺术家将会到昆明TCG诺地卡同中国艺术家共同完成主题为:“日常事件、运动模式、生命轨迹”的展览。之后,2011年的秋天,中国艺术家到瑞典举办同样主题的展览。

已取得联系的展览机构有:画廊1(乌普萨拉,艺术家俱乐部),Theatre画廊,Bror Hjorths博物馆,乌普萨拉艺术博物馆以及图书馆。

在学校举办的工作成果展示将在昆明和瑞典的乌普萨拉进行。教育方面的作品将由儿童作品组成,以“生活中的一天”为主题,以系列直观的形式呈现。

推进:

孟安娜和罗菲挑选了合作的艺术家。初步行程是瑞典艺术家2010年在中国做展览,开幕式定于10月8日,中国艺术家于2011年到瑞典做展览。准确时间会在与相关机构的合作中确定。

目标群体:

我们希望通过展览和工作展示关注两国的孩子、学生以及生存在郊区和边远地区的人。我们将用相同的方式来管理中国的工作展示。

预期成果:

在两个国家、两国人民之间建立积极的对话。我们期待一次中瑞文化间的积极交流和创造性对话。希望能通过“桥梁”这个项目找到两个国家之间的共同点。通过聚焦共同点我们将为对话、互相了解和包容差异创造更多机会。我们将通过展览、会议、工作展示和指南册传播信息、经验及成果。

BRIDGES

An art project between Swedish and Chinese artists
… everyday events, movement patterns, lifelines …

Project Coordinators:
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling

Exhibition Curator:
Luo Fei

Artists:
Kajsa Haglund, Anders Rönnlund, Sanne Sihm, Johan Fremling, He Libin, GuoPeng, Cheng Liangchun, Su Yabi, Sun Guojuan, Lei Yan, Luo Fei

Exhibition Opening: 20:00, 8th of Oct, 2010
Duration: 8th of Oct — 30th of Oct, 2010

Address: TCG Nordica Gallery, Chuangku, xibalu 101, Kunming, Yunnan, China
Tel: 0871-4114692
Web: http://www.tcgnordica.com

BRIDGES

Anna Mellergård, Cultural Coordinator at Arts Nordica, www.artsnordica.com, took in the spring of 2007 contact with Kajsa Haglund in Uppsala. Anna Mellergård which for a long period of time, has lived and worked in Kunming, China founded together with Wu Yue Rong TCG Nordica, a Nordic-Chinese Culture center. Today the cultural centre leads by Wu Yue Rong with the Chinese artists ‘ Corps and TCG Nordica.The following artists have now received an official invitation from Luo Fei, curator and artist and cultural Coordinator at TCG Nordica, Kunming, China.The opening of the exhibition will be on 8/10/2010.

The invited artists from Sweden are:
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling

All Swedish artists are professional artists and members of the KRO, artists ‘ National organization. The Chinese artists participating in the project are:
He Libin, teacher at art school
Guo Peng, artist
Cheng Liangchun, artist, cultural Coordinator
Su Yabi, artist, teacher at Dali Art college
Sun Guojuan, artist
Lei Yan, artist
Luo Fei, curator, artist

OBJECTIVES OF THE PROJECT

by means of artistic processes, examine and analyze how a cooperation between the two cultures can be developed, as well as create understanding. We want to change attitudes, find out what unites and create conditions for meetings through our art exhibitions and through the educational work with children in both countries. The artistic process is carried out in cooperation with the Chinese artists, resulting in two joint exhibitions, in China and Sweden. Can we as artists through our jobs offer a contribution to a better understanding? We wish to work with dialog, with or without words, in order to reach the reflection and reflection. Can we as artists through our jobs, to play with a bet for better understanding? We wish to work with dialog, with or without words, in order to reach reflection. Is it possible to change attitudes and open other senses through artistic projects? Our desire is to build bridges across borders by creating a creative dialogue.

IMPLEMENTING

A common concept has been developed; the Swedish artists will travel to TCG Nordica In Kunming and together with the Chinese artists organize an exhibition on the theme: everyday events, movement patterns, lifelines. Later, in the fall of 2011, when the Chinese artists come to Sweden we will set up a joint exhibition of the same theme.Contact has been taken with the following institutions for an exhibition: Gallery 1 (Uppsala, the artists ‘ Club), Theatre Gallery, Bror Hjorths Museum, Uppsala Art Museum and libraries across the County.Workshops in schools will take place both in Kunming and in Uppsala County, Sweden. The educational work will consist of the childrens work in serialized visualized form: “A day in my life.”An image story without words. The Swedish report is read from left to right, and the Chinese from right to left. In the middle of the book there will be a meeting and a bridge has been built.

APPROACH

Anna Mellergård and Luo Fei contributes with their Chinese contacts and has selected the Chinese artists that we cooperate with. Preliminary schedule is that the Swedish artists exhibit in China by 2010, with opening 8/10, and that the Chinese artists come to Sweden for an exhibition in 2011. Exact date will be determined in cooperation with the relevant institutions.

THE TARGET GROUP

We want through exhibitions and workshops turn to children, students, people in rural and urban areas in both countries. We will conduct workshops in China as well as in Sweden.

THE EXPECTED RESULTS

To create a positive dialogue between our two countries and people and countries in General. We expect an active Exchange and a creative dialogue between Chinese and Swedish culture. We hope through the project BRIDGES found similarities between our countries. By focusing on what unites, we create greater opportunities for conversations and, therefore, understanding and more tolerance for differences. We will disseminate information, experiences and results through exhibition, meetings, workshops, and directory.