Life is short, and art long, opportunity fleeting, experimentations perilous, and judgment difficult. The words are from Aphorisms by Hippocrates, the Father of Medicine, and after two millenniums and a half, they are still valid and insightful. We are living in a fleeting, perilous and difficult time, and it is hoped that art can guide …
INTERVIEWED AND TRANSLATED BY 採訪及翻譯 x KE QIWEN 柯淇雯 嗨, 我们是ART.ZIP～ 嗨, 我是馬戈特; 嗨呀，我是肖恩(西班牙语) 你們為什麼叫 “15Folds”？ 我們參考了一個超現實主義的遊戲“精美屍首exquisite corpse”，那是遊戲中折紙的部分… 成立的初衷是什麼？ 因為大家都很熱愛網絡文化和網絡迷因。 每個的主題都有什麼？ 6月的主題叫做“對立／文化”——將地下文化和主流文化混合在一起，用數字化的方式呈現。 是通過公開徵件還是有特定的人選呢？作品的選擇標準是什麼？ 兩者都有吧。我們收到了很多人的來稿，同時我們也會根據當月主題尋找適合的藝術家溝通合作。 你們視自己為畫廊空間嗎？ 是的，我們是基於網絡的畫廊空間，受眾就是這些網絡藝術群體。 為什麼GIF圖像會作為藝術作品脫穎而出呢？ 因為它是我們這代人的創作語言。 為什麼GIF圖像能在網絡世界造成轟動呢？ 你會被循環播放模式洗腦，再加上GIF文件又很小，傳播起來很方便。 如今你們的網站正在維護中，會有什麼大動作嗎？ 我們正在完善用戶體驗，希望帶給觀眾更好的藝術觀賞體驗。 接下來你們有什麼好玩的項目嗎？ 我們將在哥本哈根的Trailerpark.Io藝術節上分享“15Folds”的故事，這是我們期待已久的！ 謝謝！
In a sense, the history of humanity is a history of technology. Presumably, early humans had begun to take the path unparalleled by other species the moment they learned to set a bonfire. With the unceasing upgrading of technologies, human life has been transforming all the time.
In the wake of internal combustion engine and nuclear power, digital technology and network communication technology have the most disruptive power in modern times. They fundamentally change the way we relate to life and the world, and consequently has thoroughly altered how we view ourselves as well as the world. The emergence and popularization of new words like computer, mobile phone, Internet, Bitcoin and App not only make our life easier, but also transform everything around us, and art is no exception. In this issue, we bring together the digitalization trend in various art circles, followed by an exploration of how digital revolution plays a role in British art scenes through an investigation into the formulation and presentation of art as well as academic discussions and artists’ arguments about digital art. Hopefully this will reveal an art world of 0s and 1s to you.
Reference Number：AZ20170422 Job Description Planning, generating and executing publication contents on Chinese art works and traditional culture by conducting research, interviews, writing, editing and translating relevant materials from the UK, China and other countries. Checking libraries, archives and art collections in the UK and China, including paper copies and online materials, both English and Chinese, …
Since 2012, we have been presenting annual theatre-centred editions every year. Theatre in Britain is a highly industrialised artistic conglomeration, and has far-reaching impacts on British society and art. It carries on the humanistic traditions and values of the country, and extends and shapes reflection and understanding of the current society.
In any form of art, if it wishes to maintain its thriving vitality, it is necessary to cultivate its audience and evolve into what echoes with the times—British theatres’ exploration and practice, in this regard, is too fruitful to neglect. They infuse the most creative ideas into productions for the young, arousing in them interests in art and passion for life. In this issue, we focus on British theatre for the young, examining how theatres, creative practices, marketing, humanistic education and audience cultivation are organically interwoven.
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.
In 2008 Beijing hosted the Olympics and Paralympics, four years later it was London’s turn. To celebrate each country hosted two festivals. In 2008 the UK played host to China Now, which showcased cultural and sporting events from the country. The events included China Design Now, an exhibition that took place at the V&A. The show explored new design in China, focusing on the effect that rapid economic development had on architecture and design in three major Chinese cities: Beijing, Shanghai and Shenzhen. The exhibition focused on a wide range of design from architecture, including the ‘Bird’s Nest’ stadium, to fashion. In 2012 the festival UK Now took place in China and included exhibitions of work by Tony Cragg and Rankin as well as tours from the English National Ballet. The two festivals enabled creative discussions across the two countries and different institutions as well as displaying the quality of each country’s contemporary art scene.
The leading British artist Michael Craig-Martin RA will coordinate the Royal Academy of Arts Summer Exhibition 2015. The hanging committee for the Summer Exhibition includes Royal Academicians Norman Ackroyd, Olwyn Bowey, Gus Cummins, Jock McFadyen, David Remfry, Mick Rooney, Alison Wilding and Bill Woodrow.
Today, a major exhibition New British Inventors: Inside Heatherwick Studio was touring in mainland China supported by the British Council. The exhibition, curated by Kate Goodwin, Head of Architecture and the Drue Heinz Curator at the Royal Academy of Arts, London, features projects and design process from 20 years of Heatherwick Studio, capturing the studio’s spirit of discovery, demonstrating their imaginative and entrepreneurial approach to design.
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.
“Art is more to do with observation than invention.” Carefully teasing out the globally recognised yet the most easily ignored everyday objects with bright and arresting colour, the British artist Michael Craig-Martin has orchestrated a visual symphony of modern material life in his debut exhibition in China. Entitled Now, the touring exhibition marks the beginning of the ‘2015 UK-China Year of Cultural Exchange’.
In September 2015, the Royal Academy of Arts will present a landmark exhibition of the Honorary Royal Academician, Ai Weiwei. Although Ai is one of China’s leading contemporary artists, his work has not been seen extensively in Britain and the Royal Academy will present the first major institutional survey of his artistic output. The exhibition will include significant works from 1993 onwards, the date that marks Ai Weiwei’s return to China following more than a decade living in New York. Ai Weiwei will create new, site-specific installations and interventions throughout the Royal Academy’s spaces.
China and Britain, east in Asia and west in Europe, breed different cultures, beliefs and logics. Geographically, these two distantly parted countries barely seem to connect, let alone closely with each other. However, in their enduring history, in which both countries have been making contributions to humanity, China and Britain have also been exerting profound influences upon each other. Nevertheless, examining each other with their respective coordinates will surely result in totally different understandings from the native ones. With the deepening of globalization and rapid development of information technologies, there are closer co-operations and exchanges between the two powers, yet their distinctive cultural backgrounds and ways of thinking may often come in the way of east-west communication. To ensure win-win on common interests, cultural exchange is the sole means to promote mutual understanding and remove barriers. In this issue, we document both British and Chinese cultural exchange programmes during this year in order to review the pros and cons of cultural exchange policies and their implementations, and discuss in depth the role cultural programmes play in Sino-UK exchanges as a whole.
“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
In the 20th century, “photobook” was produced as an effective media for recording history and reflecting the development of the history of photography. However only in the last decade there has been a major reappraisal of the role and status of the photobook within the history of photography. China boasts a fascinating history of photobook publishing, the oversea photographers and artists who have concerned about China have been studying on it for years, trying to light its historic position worldwide. Based on a collection compiled by British photographer Martin Parr and the Beijing-London-based Dutch photographer team WassinkLundgren, the Chinese Photobook illustrates the history of Chinese photobook making over a century vivid to the world for the first time, together with its country’s diversity, richness, and vigorousness. With the support of the Cultural and Education Section of the British Embassy, the Aperture Foundation and many other institutions, it has been presented in Arles, New York, Beijing and London successively. Besides, a book of the same titled has also been published in 2015 by Aperture and the China Photographic Publishing House.
Hayward Gallery presents Carsten Holler’s largest survey show in the UK to date, with a wide range of Höller’s works, from newly-made pieces that have been especially commissioned, to key early artworks like The Pinocchio Effect (1994) and Upside Down Goggles (1994-2009). It brings together kinetic sculptures, videos, installations and light works that are designed to profoundly re-orientate our awareness of time and space, reflecting Höller’s wide-ranging interest in the nature of consciousness.
The M+ Sigg Collection is an extraordinary exhibition drawn from an extraordinary collection, one put together by the Swiss collector Uli Sigg and now recognised as the largest and most comprehensive of its kind in the world. The collection will form the backbone of the new M+ museum for visual culture in Hong Kong (due to open to the public in 2019)
Station to Station: A 30 Day Happening — American multi-media artist Doug Aitken’s experiment in spontaneous artistic creation taking over the Barbican Centre’s indoor and outdoor spaces (Art Gallery, The Curve, Concert Hall, Cinemas, Lakeside Terrace and Sculpture Court) for 30 days this summer from Saturday 27 June.
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.
Shakespeare’s Globe is delighted to welcome back two Chinese companies from the hugely successful Globe to Globe festival of international Shakespeare this summer. From 20 to 25 July, the National Theatre of China will perform their Richard III in Mandarin. Then from 17 to 23 August, the Tang Shu-wing Theatre Studio from Hong Kong will stage their brand new production of Macbeth in Cantonese. Both productions will have scene synopses in English.
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.
From its discovery in China in 2737 BC to its enthusiastic welcome in London in 1644 AD, tea has become a worldwide phenomenon and beloved staple. Whether enjoyed in a picturesque Chinese courtyard garden or on a builder’s worksite, tea is instantly recognisable in any of its myriad forms or tastes and the love of it ties together both countries and social classes.
Cass Sculpture Foundation is delighted to present A Beautiful Disorder, the first major exhibition of newly commissioned outdoor sculpture by contemporary Chinese artists to be shown in the UK. From May 2016, fifteen monumental outdoor sculptures will be on display throughout the grounds of CASS. These artists employ a variety of ambitious sculptural techniques across a range of materials including bronze, stone, steel and wood.
Tate Britain presents the first major London retrospective for almost half a century of the work of Barbara Hepworth, one of Britain’s greatest artists. Barbara Hepworth (1903-75) was a leading figure of the international modern art movement in the 1930s, and one of the most successful sculptors in the world during the 1950s and 1960s. This major retrospective emphasises Hepworth’s often-overlooked prominence in the international art world. It also highlights the different contexts and spaces in which Hepworth developed and presented her work, from the studio to the landscape.
The importance of curation did not come to me at first from a contemporary art exhibition but an exhibition The Silk Road(2004) in British Library. At that time, I was for the first time clearly aware that curation can express substantial information in such a graceful and fantastic manner, and that a curator is able to render such a complex content into a well-organized exhibition language and convey the very idea of exhibition by means of multidimensional and diverse presentations.
I have been fond of fine arts since I was little. I started to learn painting at the age of five and my dream had been to be able to study in academy of fine arts. So within seven years, I took part in the examination three times and was finally admitted to Xi’an Academy of Fines Arts with the highest professional course score throughout the five provinces of North West China.
The artist Zhang Peili brought his work ‘30 x 30’ to the 1988 Conference of Contemporary Art in Huangshan. He intended for the audience to be locked up in a room watching his new work for three hours nonstop. Shot with a home video camera, it is a 180-minute video that shows a pair of gloved hands repeating the process of breaking a mirror, then gluing it back together, and then breaking it again.
In many cases artists whose practice is predominantly performance based, are recognised by the autobiographical tone of their work. Using identity as a primary credential, this article will address the consequence and expectations in terms of how certain performance artists are often framed, marketed and dramatically characterised within the wider discourse; a path that
An artist is by definition the one who creates. And, by extension, the one who becomes – however much these two combined resemble the definition of a new god. A shapeshifter shifting shapes. She is not to be satisfied with the role and position given to her, but is to fight for always new territories, to claim not only from others but also from among the artists themselves. This is perhaps also why the idea of a “super artist”(as the counterpart of the super curator) still remains unheard-of – she always already possesses the potential of being super.
Every self-respecting young artist at some point or other takes the wheel and organises a project or group show that involves others. Curation is now a multi-functional word expressing the role of the person who looks after a collection of artworks, the person who decides which objects sit next to each other in an exhibition, the person who works closely with the artist to develop a new project, to the person who displays their colleagues’ or friends’ work in an empty warehouse.
Marko Daniel is Convenor of Public Programmes at Tate Modern and Tate Britain. In 2014, he was curator of the 8th Shenzhen Sculpture Biennale: We have never participated. He was co-curator of Joan Miró: The Ladder of Escape (Tate Modern, 2011; Fundació Joan Miró, Barcelona; and National Gallery of Art, Washington).
It is rather complex, the present situation of the curator in China. The whole of China, with all its politics, economy, and culture is still in a time of substantial transition. Naturally, the structure of the curatorial is effected. The curators of the older generation have accomplished their historical missions, finished really important tasks.
I love the Venice biennale, the location, the huge numbers of participating artists, cultures, locations. I don’t mind being footsore and weary after a long day wandering from exhibition space to exhibition space. I don’t mind not liking a large number of the artworks I see and I don’t mind seeing individual shows curated by buffoons. What I do mind, terribly and painfully, to the point of wanting to stick pins in my eyes and shed someone’s blood, is visually illiterate smart arse curation infiltrating a whole biennale, shouting down individual voices and drowning out curatorial diversity.
Luc Tuymans is one of the most prominent contemporary painters, highly regarded for his paintings that draw on visual techniques from photography and film. His works are featured in museum collections worldwide, including Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; Tate Gallery, London.
At the time of preparing this issue, the Hayward Gallery, London presents an exhibition HISTORY IS NOW: 7 Artists Take On Britain which is curated by 7 artists including John Akomfrah, Simon Fujiwara, Roger Hiorns, Hannah Starkey, Richard Wentworth, and Jane & Louise Wilson. Working with Dr Cliff Lauson, Hayward Gallery Curator, each artist was invited to curate a section of the exhibition, looking at particular periods of cultural history from 1945 to the present day.
As being outside any art institutions, I am very interested in how art institutions attract new audiences by transforming the curatorial approach, because any organization or individual applying for funding supports would come across these questions, “how to attract audience? How to develop a new targeted market?”
When referring to the definition of ‘curator’, different people working in different fields give different answers. Mostly, people describe a curator as an organizer, a director, a manager, and there are a lot of people that would think curators are personnel responsible for exhibition planning and art dealing. In the context of contemporary arts, the definitions are limited, or defined with preconceived bias. However at least, it seems ‘curator’ is a role filled with multiple identities and responsibilities.
Savage Beauty will be presented in ten sections which will showcase the dominant themes and concepts within Alexander McQueen’s extraordinary body of work. The sections are built around garments which span the breadth of McQueen’s womenswear collections, from his MA graduate collection in 1992 to A/W 2010, McQueen’s final, unfinished collection.
This spring, the National Gallery presents the UK’s first major exhibition devoted to the man who invented Impressionism, Paul Durand-Ruel (1831-1922). An entrepreneurial art dealer, Durand-Ruel discovered and unwaveringly supported the Impressionist painters and is now considered a founding father of the international art market as we know it today.