出 品 人：方东兴
策 展 人：蒋非默、王泊乔、张海涛
Ash Moniz（加拿大）、艾恩·克⾥斯蒂安·⽶勒Arnd Christian Müller（德国）、边霄萌、卜桦、Garcia Frankowski（波多黎各／法国）、苍鑫、常徐功、陈庆庆、陈文令、陈友桐、戴翔、邓碧文、费俊+李心路、高文谦、郭工、汉森Johannes Nielsen（瑞典）、韩行、何盛源、胡介鸣、花俊、姬子、计文于＋朱卫兵、贾鹏森、江衡、金江波、李洪波、李琳琳、李山Alessandro Rolandi（意大利）、李暐、李占洋、李子勋、梁绍基、梁越、林欣、刘健、刘茜懿、刘旭光、刘峥、卢杉、路赛·贝通Russell Beighton（英国）、马腾飞Martin Derbyshire（英国）、马晟哲、缪晓春、祁志龙、秦树义、邱黯雄、邱宇、邵译农、史金淞、孙逊、谭海山、田晓磊、童昆鸟、王雷、王薇、王维思、吴超+夏维伦、吴高钟、吴梦诗、武艺、徐一晖、许仲敏（英国）、杨泳梁、伊瑞STRAKA JIRI（捷克）、张浩、张丽丹、张沐辰、张琪凯、张巍、张湘溪、张小涛+余月雄、张彦峰、张正民、郑达、钟甦、周罡、朱冥
▲ 张沐辰《呼吸》互动装置；微处理机 电子器件、防毒面具、声音、有机玻璃；尺寸可变；2013
▲ 陈文令《超验的方舟Ark of Transcendenc》512x400x420 cm；不锈钢；2012
▲ 汉森Johannes Nielsen《Whispers From the Sky》动态装置；木、竹；220×120cm×5；2015
▲ 李洪波《荒芜》金属；35×9.8×1.7 cm；2014
2016年9月28日 凌晨 于北京花家地北里
▲ 邵译农《如如之心》 松木、榆木；尺寸不等；2013
▲ 艾恩Arnd Christian Müller《圆环锤》
▲ Ash Moniz《Lagrangian Lawn》Video Performance；5min17sec；2015
▲ 田晓磊《诗歌 》数字视频截图；2014
▲ 何盛源《翛》视频截图；2K多路视频 装置；17min39sec；2016
——【艺术郑州】2016 “全球中国” 当代艺术展手记
20世纪初杜尚（Marcel Duchamp）作品中就透露出东方哲学思想，20世纪50年代，作曲家约翰·凯奇（John Cage）从东方“禅宗”思想中获取灵感，禅宗使西方人多少领会了理性的局限性。他们在敞开心灵，倾听大自然的声音中发现了新的美。日本物派作品中发散着东方自然朴素，非修饰的潜默力量。
▲ Garcia Frankowski《Poem of the Triangle》Diptych；Two Chanel Video Installation；Sound；2015
▲ 马腾飞 Martin Derbyshire《Codeswitcher 代码更改》视频截图
▲ 伊瑞STRAKA JIRI《被碾压的麻雀》宣纸水墨；360×280cm；2011
▲ 马晟哲《Qi-2016 No.25》纸上蓝晒；96x76.5cm；2016
▲ 路赛·贝通Russell Beighton《无题：被偷走的时间》乙烯基贴纸；2016
2016 “Global China” Contemporary Art Exhibition
Producer: Fang Dongxing
Art Adviser: Wang Mingxian
Academy Director: Wang Chunchen
Curators: Jiang FeiMo, Wang Boqiao, Zhang Haitao
Curator Assistants: Zhao Lei, Cao Ying, Wang Jian, Su Yong
Sponsored by: Green Land Group • Zhong Yuan
Organized by: Shanghai Nature Awe Art Center
Opening Time: 16:00, Oct.29th (Saturday), 2016
Exhibition Duration: Oct. 29th, 2016 – Dec. 31st, 2016
Exhibition Location: Green Land Group Center of Zheng Dong
Artist (in alphabetical order by last name):
Ash Moniz (Canada), Arnd Christian Müller (Germany), Bian Xiaomeng, Bu Hua, Garcia Frankowski(Puerto Rico/ France), Cang Xin, Chang Xugong, Chen Qingqing, Chen Wenling, Chen Youtong, Dai Xiang, Deng Biwen, Fei Jun+ Li Xinlu, Gao Wenqian, Guo Gong, Johannes Nielsen (Sweden), Han Xing, He Shengyuan, Hu Jieming, Hua Jun, Ji Zi, Ji Wenyu+Zhu Weibing, Jia Pengsen, Jiang Heng, Jin Jiangbo, Li Hongbo, Li Linlin, Alessandro Rolandi (Italy), Li Wei, Li Zhanyang, Lee Tzu-hsun, Liang Shaoji, Liang Yue, Lin Xin, Liu Jian, Liu Qianyi, Liu Xuguang, Liu Zheng, Lu Shan, Russell Beighton (UK), Martin Derbyshire (UK), Ma Shengzhe, Miao Xiaochun, Qi Zhilong, Qin Shuyi, Qiu Anxiong, Qiu Yu, Shao Yinong, Shi Jinsong, Sun Xun, Tan Haishan, Tian Xiaolei, Tong Kunniao, Wang Lei, Wang Wei, Wang Weisi, Wu Chao + Xia Weilun, Wu Gaozhong, Wu Mengshi, Wu Yi, Xu Yihui, Xu Zhongmin (UK), Yang Yongliang, STRAKA JIRI (The Czech Republic), Zhang Hao, Zhang Lidan, Zhang Muchen, Zhang Qikai, Zhang Wei, Zhang Xiangxi, Zhang Xiaotao + Yu Yuexiong, Zhang Yanfeng, Zhang Zhengmin, Zheng Da, Zhong Su, Zhou Gang, Zhu Ming
Observing China with “Global China”
---- Contemporary Art Exhibition in Zheng Zhou
When we talk about China today, it’s not limited to China only, but also about the world, and also about the global. China was formed after the long term fusion and interaction of multi-ethnic and multi-culture in the history. Therefore when we come to the age of globalization flown with the world trend, we have to face the new challenges and new structures, which will also give us the brand new vision of “Global China”.
Standing on the platform of the 21st century, “Global China” explores our directions forward with historical dimensions. It’s also quite meaningful for this exhibition to be held in Zheng Zhou, for Zheng Zhou is located in the middle of China with a long-standing history and a grand area. It used to be the core district during the most prosperous age of Han Dynasty and Tang Dynasty, and has created one of the most glorious civilizations in the history. The Buddhism was firstly located in this area when it came to the east during East Han Dynasty, indicating that this area used to be the center to guide the world at that time. “China” used to mean for “the country inside a country”, which was referring to this middle area of China around Zheng Zhou. The art in Song Dynasty is one of the peaks in Chinese Art. It is admired for its grandness and magnificence. The middle of China back then was the place to embrace the whole world, where people exchanged various thoughts with different languages (Religions like Buddhism and Nestorianism were all firstly spread out from this area). The characters and dispositions of people, during Han, Tang and Song Dynasty, were heroic and generous, great with absorbing essences from the whole world. The folk poetry collection famous with its orderly inheritance have nourished the world and enlightened our hearts for thousands of years. When we retrospect the Sage in the history, we can’t help pondering over with deep sighs, for “the middle of China” back then was somewhat like the concept of “the global” of today, which overlook the world with a broad vision, a rich knowledge base, and a tolerant heart. Therefore, “China” is not just limited to the middle area of China. It holds the open mind with “the world” instead. The ancient book “Shan Hai Jing” may sound like a myth, but it is actually the guide book for our ancestors to understand the world, and a valuable bible to appreciate the treasure in the world.
Therefore, it is a good will to bring up the “Global China” in our age of new contexts, which connects with our historical verve and aims for the whole world by absorbing the essence from different cultures and accepting various culture achievements. This “Global China” is not just the cultural concept of only “China”. What it’s pursuing and broadcasting is the outstanding civilization and culture all over the world. The vigour and creation are generated from the worldly concept, which is the shared character and value under the globalization. We’ve endowed the new meaning of “Global China”, that is to add the world factors into the concept of “China” and not to restrict it locally. “Global China” is also the brand new culture creation, just like the emerging and prospering of renaissance in Italy, which is not limited in Italy only. Instead it was acquired with the injection of new knowledge after absorbing and connecting the essences from the whole ancient civilization in Europe and Asia. As to art, “Global China” has helped us with a wider vision with extra power, which is exactly what we need while developing our Contemporary Art today.
If we observe the development of art in recent 30 years in China, we could see this path clearly. Were our artists not opening their hearts and expanding their vision, they would never take various new methods to express art, nor would they present the world by digging into the perception of globalization commonness. Even though they borrowed the existing classic language to present art, they’ve strived very hard to convert the expressive force of the age to add the contemporary new perception into it. When we glance over the art works of this exhibition, we will find that the mindedness of China Contemporary Art could be observed by “Global China”. We used to define and divide Chinese Art in several aspects, like it has to be ink paint and ceramic when comes to media, and the themes have to be flowers, birds, grass and insects, or mountains, rocks, trees and woods. In recent years, it has to be realistic, concrete, narrative, characteristic and etc. when talking about Chinese Art. These numerous theories would restrict the understanding of people from time to time. It seems like nothing else should show up in Chinese Art, and if it does happen, it has to be exotic, which is not reasonable, nor is it regarded as Chinese Art. This conclusion is agreed by the majority. Hence, in order to develop Chinese new art and new culture on a broader base, the purpose to bring up “Global China” is to open our minds, so that Chinese artists, during their art creation, won’t be constrained by those restricted subconscious concepts. Instead, they should devote themselves in every possible way to present art with a decisively mind.
With this big wish and great mind, we could come to enjoy the art of this exhibition again. We could acquire the freedom and happiness either as an audience or as a researcher. The freedom comes from the touch and poignant resulting from the word of Art while facing the abundance and variety of art, which contains not only diverse types and different media but also rich meaning and varied scenes. The artists, who are active in current Chinese Art, have lived up to their pursuing dreams of art creation --- their art imagination co-exists with their acquired art freedom at the same time, and the possible art challenges they may encounter also lies in how they try every possible media and methods. If this is not art, what is it? As a concept, the “Global China” has affirmed their validity and possibility to pursue international languages and methods. In the meanwhile, exhibitions like this are also a way for us to retrospect the marks Chinese Art left in the contemporary. They have vividly presented how the art concept of “Global China” was structured, which is not limited into one object, nor does it belong to a certain group. It is full of diversities instead. The meaning of diversity is not as simple as either a little more or less. It has reflected and influenced the distance and emotions between human and the world. “One” is the sole bias, which could lead to the narrow-minded and the stubbornness, then to the decline of art, because the nutrition is so limited that it has a negative impact to absorb new creations. “One” tends to simplify the richness and variety of the world, which is the big taboo for Contemporary Art. It is the annotation of “Global China” that will test our intelligence, explore our talents, and improve our imaginations.
The Global is synonymous with abundance. China is exactly the long-lasting existence in the history. The meaning of “Global China” occurs when the global and China connects with each other. The “Global China” is not only China’s China, but also the China of the whole world, the China with peace, the China in pursuit of improvements, and the China to share knowledge and values with the whole world. China, at this moment, is the pursuit and accomplishment of China in recent one hundred years. As the public worldly language, art, with its unique charm, has helped people around the world to share the civilization, emotions and wisdom. No matter what type of Contemporary Art it is, it will all enlighten audiences like us to realize: We will be no longer lonely. There are ample creations waiting for us on our path of exploration, which will sooth our hearts and souls.
This is to say: That is exactly where the art of “Global China” lies.
Midnight of Sept. 28th, 2016
Chinese Art under Global Context
----- （Art Zheng Zhou）2016 “Global China” Contemporary Art Notes
In the age of Global interaction, the influences between global politics, economy and culture will intensify the competition of centralized discourses. It has become especially vital of the culture differences and diversities under the centralized context of which economy decides the right, and it has also balanced the effects that economic value decides all. “Chinese Style” contemporary art differs from current western art under the global context, and carries its local characters. I believe there are two advantages of Chinese contemporary art comparing with western art: One is the current unique environment and culture background of China. The other is the Chinese traditional and classic culture resources. These two points, I believe, are different from the western, and are able to talk to the west on the same level. It is crucial for Chinese contemporary art to search for the practical survival feelings, to focus on history, culture and thoughts, hence to find the ecosystem which is different from western values.
Zheng Zhou is located between the south and the north of China, with a typical culture of “mixing”. Several capitals in historical dynasties were located in this area, which has built up a great base of traditional culture. But since modern times, the new culture here is lagged and conservative. So it’s pretty hard for Contemporary Art to seep in. Also due to the missing of the talents, the absence of new ideas, and the lacking of art education, it has become very hard to develop Contemporary Art. We can’t set up a virtuous cycle for art ecology here in Zheng Zhou, such as setting up art zones, arranging exhibitions and art reviews, and collecting artworks. However, I believe we need people here to do things which have not been done by others, and initiate activities like “teach-help chain”, thus to change the current situations. We could use this “lever” and give it a try here, and the meaning will for sure emerge. It is extremely meaningful for the Greenland Group to promote “Chinese Style” contemporary art in this central China area. We could improve the art pattern in Zheng Zhou and even in Central China through this exhibition, then igniting the whole area. In the meanwhile, the brand of Greenland could also be promoted, which would empower the local economy through the culture industry.
Is the thinking method formed under Chinese classic historical culture compatible with the development of Contemporary Art? The answer is absolute without a question. The most important character of Contemporary Art is “integration”, and it is a key character of eastern thinking to observe and manage things “integrally”. This has been well shown in Chinese traditional medicine. During the development of Contemporary Art, there have been several crucial inspirations. Western artists have discovered novelty thoughts from Chinese traditions, therefore created eastern style art forms under the influence of eastern traditional philosophy. The uniting of Chinese Contemporary Art and eastern philosophy will inject vigour into traditional concepts, thus to search for its voice of Chinese Art when gearing itself to the international stage.
The Historical Web of West & East “Chinese Style” Contemporary Art
At the early 20th Century, Du Shang’s Art has presented some eastern philosophy. In the 50s of the 20th century, composure John Cage has acquired inspirations from eastern “Zen”. Zen has made westerners realize the limits of rationality, and helped them to discover the brand new beauty by opening their hearts and listening to the nature’s voices. The Japanese “Mono-ha” art also presents the eastern naturalism and simplicity, which is full of undecorated tacit power.
The great Image Artist NamJune Paik, who was born in Korean and active on the global stage, has developed the brand new artistic expression: “dynamic image art”, using satellite TV technologies via “TV” media in the 60s and 70s of the 20th century. This has showed the developing trend of Chinese art, which is the fusion of western technologic language and eastern philosophy.
Chinese artists have come on the international stage in the 90s of last century by borrowing Chinese Card to search for the difference from Western Art. Like “Chinese Card” in the 90s, art works like this still carry the traits during deconstruction age of early postmodernism, including conceptualization, symbolism, and the feeling of breaking and dispelling, like the deconstructing games of gunpowder and words, and the alteration of symbolic space and contexts. Whoever playing “Chinese Card” have been trying to search for the value conflicts, the culture conflicts and the differences between China and the west. While amounts of artists, who transform “Chinese Style” resources, mostly focus on the connection of current cognition and feeling, therefore, the art work of them have constructed some values with implements.
It has become the vital part to judge art values of the keen and sincere experience from new feelings and new languages. While selecting the topic of the art work, the contemporary transformation from history, current, future and eternality has become the significant origins to bring art vivid and alive. We have divided the exhibition in the following 3 chapters and 6 parts based on the exhibition topics and the symbolic relations: (Memory) Memory Diagrammatic Form; Classic Transformation. (Reality) Social Empirical Study; Daily Abnormity. (Future) Scientific Future; Vision Image. For example, an eternal classic thought, after the transformation of modern languages or presenting new feelings with classic languages, will bring out new values.
Chinese Current Reality and the Meaning of Exhibitions
“Chinese Style”, based on the hot topics in certain time beings, can be divided into chapters of “Memory, Reality, and Future”. The “Memory” chapter focuses on the contemporary transformation of the classic traditional culture and historical resources. The “Reality” chapter focuses on the expressions of survival feelings and concepts from the contemporary artists. The “Future” chapter is about the preset and imagination of the future. The unique “Chinese Style” realities could be annotated from different aspects. Politics, economy, society, culture, each field contains the Chinese style cultural accordingly. China applies the unique systems among the world, and inevitably carries the economic characters differing from the west. Its social phenomenon and news also presents the Chinese style absurdity. Culturally it has been chasing the west under the impacts of inertia thinking methods. The mixing of the western modern culture and the eastern traditional culture since the May 4th movement has formed current Chinese character. With the domestic political domination and the rapid economic development, everybody has become the “merchant” due to the life pressure. With the economic index supremacy and the entertainment expense most valued, the “Nouveauriche” culture emerges as times require. Moral and ethics are missing, and people are indifferent with each other, instead they put their energy in the pursuit of fame and money. All the concurrent news and social hoax are absent in other countries. The reciprocity courtesy has resulted in the society full of “relationship”. People are lacking of legal concepts. Also the internet stars, who are proud of their “disgrace”, are resulted from the mundane rebellions towards the elite culture. The so called “Internet Stars Becoming Famous” is sponsored by business. The Chinese style abnormalities are emerging in an endless stream, and everybody can barely escape from this social relationship swirl.
All culture has put it as the standard of the theory of “economic supremacy” during the global development. The economy has controlled all voices: Culture circles around economy, and changes as economy changes. All has been transformed into culture industry, and all has to be converted into money, otherwise there’s no survival. The value standards and world outlook of the Chinese are changing. This phenomenon is unique in the world, which has naturally become “Chinese Style Phenomenon”. Even the popular TV series are entitled of “Chinese Style”, like “Chinese Style divorce”, “Chinese Style Relationship”. “Chinese Style” is a neutral word full of tolerance, which could be positive or negative. All Chinese unique culture and social resources could be implemented by artists. Promoting and inheriting positive Chinese Style culture, and abandoning and boycotting negative Chinese Style phenomenon, these are the profound questions brought out by artists. They are also the meaning of our exhibition.
Beijing, September of 2016
Art, Technology and Commercial Space
Wang BoQiao (Curator; Consultant of Chinese National Museum; Chief-Secretary of Chinese Digital Art Association)
It has come out pretty frequent in recent Contemporary Art Exhibitions that Art has intervened into public spaces, especially public commercial spaces, like the famous K11 Monet Exhibition. Before K 11 Jiang FeiMo and I, as the curators, have started to plan the art exhibitions in commercial spaces and buildings of several national landmarks, such as Shanghai Times Square, World Financial Center and etc… However, the traditional forms of Art are not capable of adapting to the enormous public spaces with complicated environments. Therefore, we’ve included numbers of works of Art Technologies, Interactive Installations and Multimedia Images to add the extraordinary effects to the exhibitions. Experimental Exhibitions like these have tested the localization accomplishments of China Contemporary Art, which have proved that the achievements are quite abundant, and also the spillover effects brought by the prosperous development of Contemporary Art, especially the outstanding social benefits, are quite obvious.
The borrow of public commercial spaces, especially the city landmark building Green Land Group Center of Zheng Dong where this “Global China” Contemporary Art Exhibition will be held with its natural capacity of countless visitors, will help the majority from our society, especially the social elites, to experience and enjoy Contemporary Art . Without a doubt, this is the amazing way to popularize art to people, which will help improve the art cultivation to people in this city, to expand their visions, as well as to enrich their culture experiences. The great radiation effects of commercial spaces will offer strong assistance to expand the influence of the art exhibition and then to enter every corner of the city.
In the meanwhile, the Art Exhibition with high quality will create rich cultural environments for the commercial spaces, and will leave culture marks which will add plenty culture characters to the spaces besides their architecture and commercial characters. The commercial space with culture characters will improve its voice in the city’s cultural structures. It is not just the architecture landmark, but also will possibly become the culture landmark of the city.
With the developments of China Contemporary Art till today, it has required more and more supports and participation of various social circles, and a deeper integration into the current society of China. The greater art creation will spurt out with its root deeply planted on the domestic land. It is not only the responsibility of the artists, but also the requirement of the society to produce art works with larger quantity and better quality. We hope this exhibition will cultivate the soil on the middle land of China for Contemporary Art to grow. We hope Contemporary Art will leave a bright color in the city’s culture. We also hope more and more citizens in Zheng Zhou will understand and enjoy Contemporary Art.
I have realized profoundly how postmodern urbanism has, under the global contexts, penetrated and rebuilt the city culture of this commercial city. If we live in Zheng Zhou for a week, we will find it easily, that the above changes are shown in a broad sense via the interaction of various factors of the city, and in narrow sense via the development of city spiritual forms.
This exhibition helps us to foresee the possibilities for Contemporary Art to greatly develop in the middle land of China. It has also given us a chance to understand what kind of Contemporary Art is the art belonged to Chinese people --- It should not be the phenomenon art experiment, nor should it be too rare and fragile to intimidate people, neither should it be Kitsch or vulgar. Instead, it is the art practice to express our perception after artists in current China stand on our land and experience the reality with the global culture views. This practice has shown the life experience and culture theories of current Chinese, which is quite down to earth.