The title Gideon Rubin: Memory Goes Far as This Morning, is that of the first museum solo show of Israeli artist, Gideon Rubin exhibited at the Herzliya Museum of Contemporary Art, one of Israel’s upcoming contemporary art museums. It displayed works created by Gideon Rubin during two art residencies in Tel Aviv, Israel and in Shenzhen, China, in 2014.
I was often asked such a question in my twelve years working on China-UK cultural relations: Why does the UK spend all these money on culture and art in China – is it cultural colonization? An official answer could be that by connecting and creating international opportunities for the people in China and the UK, it builds mutual understanding. One can also understand it in this way: cultural exchange is a soft approach to build a trust, which then enables an easier dialogue in harder areas such as economy and diplomacy. A voice from the bottom of my heart sometimes would add: investment in culture is always good as long as it is grounded and can benefit or inspire individuals.
“It is the same – threefold – Psyche, a woman, and each time there is a reminder, as Freud puts it, that she is extended (asugedehnt). But each time (and three times the first sentence resonates in French, “Psyche est étendue…” [“Psyche is extended…”]) the mise-en-scène differs, as do the tableau and the implicit narrative.” – On Touching, Jean-Luc Nancy, Jacques Derrida
Art critic, lecturer, curator, chief editor, founder of tomarts.cn, gallerist – for more than a decade, Pi Li has remained extremely active in the world of Chinese contemporary art. In 2012, he was appointed senior curator of M+ Hong Kong, and has ever since become responsible for managing and researching in the formidable collection of Chinese contemporary art of the museum. From a highly educated elite fresh out from the world of the academic, to a gallerist immersed in the tough business, now returning to a position that is museological and institutional, looking after a collection that has recently become public – Pi Li has seen it all. His move from Beijing to Hong Kong might well be simply a personal decision; to the remapping of Chinese contemporary art, however, it is deemed to be the signifier of a new era.
It’s 2006, Forest Fringe initiated at the Forest Cafe in Edinburgh, a beautiful decaying church hall above the cafe is the place where the group of artists making space for risk and experiment. Over the years they devote themselves to the UK contemporary experimental performances with full of passion. This is a totally independent non-for-profit community, in this community where artists and audiences have no boundaries and even shift the roles; meanwhile this is also a performence festival held annually in Edinburgh, now the festival has grown, they begin to experiment beyond Edinburgh creating projects across the UK and internationally. As one of the UK-China Year of Cultural Exchange programmes in 2015, seven artists came to China to share their ideas with local artists and audiences. After this three-week China Tour, the co-director Andy Field and the artist Richard DeDomenici shared their unforgettable experience with us.
As previously mentioned the inter-exchanges between China and United Kingdom, or the ‘contacts’, majority of people would never ignore the facts that Britain and its opponents from Europe invaded as well as occupied the Asian area. However, behind these visible conflicts among the empires, still more meanings are worth looking at and exploring actively through the micro-scope, that is, the formation and exchange of knowledge—and, following this, the cultural identity.
The moving train where we sit always attracts us to ‘see’ the scenery outside, and the speed of motion also removes the passengers from the sense of place, acting as a barrier. Even in a relatively slow tram, serving as a common way for commuters in a city, the windows through which they see mostly serve as utterly usual views. It shows ‘nothing’ more than a space that hosts daydreams; in this way, the moving coach is a place without any productive values. However, the project conducted by the British artists collective Circumstance, Sitting-Still-Moving – Times Museum Art on Track, aimed to change this impression and to transform the tram into a carriage that not only carries people but also brings them a novel story, or a past-cum-forgotten history regarding the local community.
8月22日，中國傳統民樂演出“高山流水 飛越英倫”在倫敦威斯特敏色特中央大廳奏響。由中國最優秀的指揮大師和作曲家關迺忠先生執棒中國頂級民族管弦樂團——中國音樂學院華夏民族樂團，與“二胡皇後”宋飛女士、“聖手簫王”張維良先生、“京胡名家”張尊連先生等中國頂級民樂家聯袂演出，再現民族經典，用觸動心弦的音符，為聽眾帶來了一場震撼心扉的視聽盛宴。當日的演出現場座無虛席，中外樂迷連呼過癮。 。 。 華夏民族樂團成立於1964年，已成長為中國當今頂級的民族管弦樂團之一。在藝術風格上，樂團既掌握了中國優秀的傳統音樂和民間音樂，使這些古老而神秘的東方神韻得以傳承和弘揚；同時也積極創新，推動音樂風格多元發展，創作出具有中華民族氣派又具有強烈時代氣息的新作品。 華夏民族樂團此次演出陣容強大，中國頂級民樂家雲集，超高難度的獨奏樂曲給觀眾帶來意想不到的驚喜。二胡，阮，笙，琵琶等皆是不同於西洋樂器非常具有特色的民族樂器，涵蓋樂器種類之多也是史上少有。 中國最優秀的指揮大師和作曲家關迺忠先生，以他出眾的音樂才華譜撰了無數名曲，他曾先後擔任東方歌舞團指揮及駐團作曲家、香港中樂團音樂總監、臺灣高雄市國樂團指揮等，並以其優秀的作品和指揮，打造了樂團獨特的音樂風格。今次關迺忠親自指揮的樂團演繹了多首他自己的精選作品，除了樂迷非常熟悉的《月圓花燈夜》、《豐年祭》外，更有青年琵琶演奏家程雨雨女士以琵琶獨奏他的名曲《傾杯樂和胡旋舞》。 音樂會特邀中國音樂學院副院長宋飛女士加入，她被喻為“中國二胡皇後”，其二胡演奏藝術集各家各派之精華，是中國當代譽滿國際樂壇的二胡演奏家，此次她獨奏的二胡名曲《二泉映月》，用起伏跌宕的變奏展現淒美深邃的意境，舒緩悠長的旋律仿佛發自內心的述說，淋漓盡致地表現出一位飽嘗人間疾苦的人感慨唏噓、憂憤交加的心路歷程。 “聖手簫王”張維良先生是著名笛、簫、塤演奏家、教育家、作曲家，曾在英國皇家音樂廳、美國卡內基音樂廳、林肯音樂廳等舉辦過多次獨奏音樂會。在此次音樂會上，他用笛子獨奏《花泣》和《小放牛》。前者運用散板、運腔與緊打慢唱的技法，具有強烈的音樂感染力和表現力，後者歡快活潑，極富田園風味。 此外，京胡名家張尊連先生連同二胡演奏家馬可女士合奏膾炙人口的京劇曲牌——《夜深沈》，著名青年嗩吶演奏家張倩淵女士嗩吶獨奏河南民間樂曲《全家福》。其他曲目還有熱鬧歡騰的《山村的節日》、台灣老歌《月夜愁》、富有濃厚民族色彩的《北京喜訊傳邊寨》等。 中國駐英國大使館文化處項曉煒公參，大使館經參處金旭公參以及The remembrancer of the city of London Paul Double先生對於此次演出表示了大力的支持。英國女王在布倫特區的代表Mei Sim Lai女士：“非常感謝主辦方邀請我們作為貴賓參加在威斯敏斯特中央大廳舉辦的音樂會。祝賀主辦方能夠組織如此成功的活動。華夏民族樂團真是太棒了！我們在這樣的音樂盛會中非常享受，謝謝！”