DO IT
11/11
2.9.10
Perfect Journey
vitamin creative space
publications
publications
 Perfect Journey |
1, Perfect Journey is a series publication, which is exploring the different personal encounters with Chinese social reality. All these personal expressions through images are like a diary to make dialogue with the Chinese social space and life. In the modern society of China, the memory of the context of daily experience is rapid covered and recreated. This publication is trying to catch the social experience in the certain moment of China from different angel and layers. 2, First volume of Perfect Journey is selection of the images by four Chinese photographers (Wang Ningde, Xu Peiwu, Yan Changjiang and Zeng Han), one video work by Hongkong based French architect group Gutierrez + Portefaix(Mapoffice), and a short fiction by writer Hu Fang. 3, Perfect Journey Vol.1 is publication with edition of 100. This publication is exploring an alternative way of collecting. 6 photos are available from each photographer and the whole publication includes 24 photos from 4 photographers, one DVD and a piece of short fiction. The Publication try to encourge people not only collect these visual materials but also can very flexible to use them for mini presentation in different siutations,so the visual material in this publication can be a dynamic platform to share the social/culture experience. 4, Information of the collectionPackage A Material: Matte surface photo paper, Photo size with 20.3 X 30.3cm Package B Material: Glossy surface photo paper,Photo size with 15.2 X 22.5 cm | Limited Edition: 100 | Price: 798 Euros | Note: the publication with the signatures of all the authors 5, Work List of Perfect Journey (Vol.1): PRD Stories, Video,18 min,Gutierrez + Portefaix,2003 | Journey·Daylight Dream, Photo,Wang Ningde, 1998-2004 | Nansha Horizon,Photo,Xu Peiwu,2002 | The World,Photo,Zeng Han, 2004-05 | Night Zoo,Photo,Yan Changjiang,2002 | Asia·Destination,Fiction,Hu Fang,2001 Perfect Journey (Vol.1) Limited Editions:100 | Publication Concept & Editing : Hu Fang | Dimensions: 33x23cm | Price: 800Euros | Design: Vitamin Creative Space © 2005 Vitamin Creative Space, Photographers,Filmmaker &Author |
Hu Fang, Zhang Wei & Xu Tan - nightschool seminar 6
nightschool
Seminar 6: Hu Fang, Zhang Wei & Xu TanThursday June 19th, 7:30PM
Space within space within space
Vitamin Creative Space functions as an alternative working model specifically geared to the contemporary Chinese context. In order to operate independently from institutionalized funding, it is active both as an “independent” art space and as a “commercial” gallery. Vitamin Creative Space is actively challenging preconceptions by merging these two models, which traditionally are opposed strategies for supporting and presenting contemporary art, and is developing new Chinese contributions through research into both: the artistic practice and institutional organization within the new global context.
The seminar will look at the recent practice of Vitamin to explore how it is not merely a physical space, but is an attempt to create a new model for development and distribution of artist's new thinking on creativity.
Friday, June 20th, 7:30 PM
Things to do while you're alive
Accompanied by a slide show of Hu Fang’s recent pictorial collection of adverts, signs, photos from the realm of public media, Hu Fang and Zhang Wei will spontaneously generate a narration of a "life journey" and spatial transformations, outlining global surroundings we are living in and how there can be a possibility of the space for the artistic view of life: a view which proposes an alternative way of transforming reality.
Saturday, June 21st, 3 PM
Keywords School
The “Searching for Keywords” project was initialled from a series of interviews of active people in the Chinese society or people in the active Chinese area. By analyzing the content of these conversations, artist Xu Tan identified certain “keywords,” terms which shed light on values and motivations of contemporary Chinese society. “Keywords” measure the pulse of the current social climate and present an insight into the collective social consciousness of China. “Keywords” looks at connections between the individual speakers, words and the mental tendencies of the society.
In this seminar, Zhang Wei and Hu Fang will invite Xu Tan to discuss his Keywords project and introduce the idea of opening a “Keywords School,” as well as his conceptual approach, method and the larger social landscape made visible by the Keywords – a landscape of “collective consciousness” which actually frames our daily process.
Space within space within space
Vitamin Creative Space functions as an alternative working model specifically geared to the contemporary Chinese context. In order to operate independently from institutionalized funding, it is active both as an “independent” art space and as a “commercial” gallery. Vitamin Creative Space is actively challenging preconceptions by merging these two models, which traditionally are opposed strategies for supporting and presenting contemporary art, and is developing new Chinese contributions through research into both: the artistic practice and institutional organization within the new global context.
The seminar will look at the recent practice of Vitamin to explore how it is not merely a physical space, but is an attempt to create a new model for development and distribution of artist's new thinking on creativity.
Friday, June 20th, 7:30 PM
Things to do while you're alive
Accompanied by a slide show of Hu Fang’s recent pictorial collection of adverts, signs, photos from the realm of public media, Hu Fang and Zhang Wei will spontaneously generate a narration of a "life journey" and spatial transformations, outlining global surroundings we are living in and how there can be a possibility of the space for the artistic view of life: a view which proposes an alternative way of transforming reality.
Saturday, June 21st, 3 PM
Keywords School
The “Searching for Keywords” project was initialled from a series of interviews of active people in the Chinese society or people in the active Chinese area. By analyzing the content of these conversations, artist Xu Tan identified certain “keywords,” terms which shed light on values and motivations of contemporary Chinese society. “Keywords” measure the pulse of the current social climate and present an insight into the collective social consciousness of China. “Keywords” looks at connections between the individual speakers, words and the mental tendencies of the society.
In this seminar, Zhang Wei and Hu Fang will invite Xu Tan to discuss his Keywords project and introduce the idea of opening a “Keywords School,” as well as his conceptual approach, method and the larger social landscape made visible by the Keywords – a landscape of “collective consciousness” which actually frames our daily process.
Boris Groys - nightschool seminar: 1
Boris Groys
- Seminar 1: After the Red Square, Boris Groys
- Joseph Cohen: The Spectre of Communism: French Philosophy and the Post-Communist Epoch
- After the Red Square: On Religion After Communism
- Guest Lecture Mikhail Iampolski on Post-Communist Russian Film
- On Eastern European Post-Communist Art
- Boris Groys: Art after communism
- Boris Groys: Workshop
nightschool
Seminar 1: Boris GroysThe contemporary, post-communist situation is mostly understood as a time after the full and final victory of the market over all the attempts to put this rule into question. Accordingly, art is equated to the art market and an individual artwork is seen primarily as a commodity. Under this regime the only way for art to become "serious" is to become "critical", which means that it tries to reflect explicitly on its own character-as- commodity. It is telling that the art of the former Communist or Socialist countries is regarded from this perspective as non-serious because it is non-critical by definition; this art could not reflect on itself as a commodity because it was not a commodity. (It was not a commodity because there was no market, and certainly no art market under Socialism).
But the equation between art and art market, be it critical or not, not only brings about the erasure of a substantial part of the art heritage of the 20th Century; it also - and this is the more important point - ignores the non- market dimensions of contemporary art that functions not only as commodity but also as propaganda (for example: Islamist videos), as a means to organize a new type of communal space and a new type of community itself. The goal of the seminar is to investigate precisely these non-market aspects of contemporary art in its relationship to the long tradition of non-market uses of art, related initially to the Socialist-Communist tradition.
Suggested reading:
Boris Groys, The Total Art of Stalinism, Princeton, 1995
Boris Groys, Ilya Kabakov. A man who flew into the cosmic space. Afterall/MIT, 2006.
Boris Groys (ed.), Dream Factory Communism, Schirn, Frankfurt a.M., 2004.
Jacques Derrida, Marx' Gespenster, Suhrkamp, Frankfurt a.M., 2003
Giorgio Agamben, Die kommende Gemeinschaft, Merve, 2003.
But the equation between art and art market, be it critical or not, not only brings about the erasure of a substantial part of the art heritage of the 20th Century; it also - and this is the more important point - ignores the non- market dimensions of contemporary art that functions not only as commodity but also as propaganda (for example: Islamist videos), as a means to organize a new type of communal space and a new type of community itself. The goal of the seminar is to investigate precisely these non-market aspects of contemporary art in its relationship to the long tradition of non-market uses of art, related initially to the Socialist-Communist tradition.
Suggested reading:
Boris Groys, The Total Art of Stalinism, Princeton, 1995
Boris Groys, Ilya Kabakov. A man who flew into the cosmic space. Afterall/MIT, 2006.
Boris Groys (ed.), Dream Factory Communism, Schirn, Frankfurt a.M., 2004.
Jacques Derrida, Marx' Gespenster, Suhrkamp, Frankfurt a.M., 2003
Giorgio Agamben, Die kommende Gemeinschaft, Merve, 2003.
Born in East Berlin in 1947, Boris Groys studied Philosophy and Mathematics at the University of Leningrad from 1965–71. Then, from 1971 to 1976 Groys worked as a research assistant at various institutes in Leningrad and from 1976–81 he was employed at the Institute for Structural and Applied Linguistics at the University of Moscow. In 1981 Groys emigrated from the former USSR to Germany. 1982–85 he received various grants in Germany and worked as a freelance author from 1986–87 in Cologne. Groys taught as Guest Professor in the States at the University of Pennsylvania, Philadelphia in 1988 and at the University of Southern California, Los Angeles in 1991. He obtained his doctorate in Philosophy from the University of Münster in 1992. Since 1994 Groys has been professor for Philosophy and Media Theory at the Academy for Design in Karlsruhe, Germany. And since January 1st 2001 Groys also serves as vice chancellor at the Academy of Fine Arts Vienna, which has since recieved university status. Member of the Association International des Critiques d’Art [AICA].
Publications:
Gesamtkunstwerk Stalin, München 1988
Dnevnik filosofa (russ.) (Tagebuch eines Philosophen), Paris 1989
Die Kunst des Fliehens (mit Ilja Kabakov), München 1991
Zeitgenössische Kunst aus Moskau – Von der Neo-Avantgarde zum Post- Stalinismus, München 1991
Über das Neue. Versuch einer Kulturökonomie, München 1992
Utopia i obmen (russ.) (Utopie und Austausch), Moskau 1993
Fluchtpunkt Moskau (Hrsg.), Stuttgart 1994
Die Erfindung Russlands, München 1995
Die Kunst der Installation (mit Ilja Kabakov), München 1996
Kierkegaard. Schriften (Hrsg.), München 1996
Logik der Sammlung, München 1997
Unter Verdacht. Eine Phänomenologie der Medien, München 2000
Politik der Unsterblichkeit. Vier Gespräche mit Thomas Knöfel, München 2002
Liam Gillick - nightschool seminar: 3
nightschool
(rechts klikken om video's te bekijken)Seminar 3: Liam Gillick
Three one-hour lectures. The outline of a possible text. Five parts will be tested and developed quickly.
Thursday, March 27, 7:30 p.m.: The night before closure of an experimental factory.
Friday, March 28, 7:30 p.m.: Redundancy following the promise of infinite flexibility.
Saturday, March 29, 3 p.m.: Reoccupation, recuperation and pointless renovation.
A QUESTION OF WHERE TO COMMENCE NEW STRUCTURES IN LIGHT OF SOME RETURNS AND EMERGENCES:
THE POSTWAR AS A FINISHED MOMENT: IN THE EUROPEAN CONTEXT AND GLOBAL CONTEXT VIA COLD-WAR INDENTIFICATIONS (E.G. ILLUSION OF IDEOLOGICAL VICTORY OF THE RIGHT…)
THE INABILITY OF THE ART CONTEXT TO IDENTIFY WITH THE NEW CONDITIONS.
COALESCENCE OF INDUSTRIAL LABOUR IN CHINA (AMONG OTHER THINGS). THE FRAGMENTATION OF LABOUR IN DETAIL. SPECIFICALLY IN LIGHT OF VARIED SO-CALLED FREE-TRADE AGREEMENTS.
THE NECESSITY TO POSIT A NEW FRAMEWORK OF ACTION THAT CAN ACCOUNT FOR THESE LOSSES AND GAINS AND PREVENT THE MOST DYNAMIC WORK FROM BEING UNDERSTOOD AS OPERATING WITHIN AN INSTRUMENTALIZED TERRAIN. (THAT MAY OR MAY NOT ONLY BE CONNECTED TO THE NOTION OF “POST-WAR” SOCIAL DEMOCRACY)
THE BOOK (THE TEXT AS OBJECT VERSUS THE FILE TO BE EXCHANGED.)
IMMATERIAL LABOUR (CULTURAL CONTEXT OF THE COMMODITY)
ANALOGOUS MAPPING (WHERE DO THE DISCURSIVE MODELS EMERGE FROM IN A HEAVILY INSTRUMENTALISED CULTURAL ENVIRONMENT)
CULTURAL ECHOES (WHAT ARE THE DANGEROUS ECHOES OR PARALLEL MODELS: THE JIM JONES EFFECT?)
SITES OF PRODUCTION (THE SITES OF PRODUCTION STILL REQUIRE WORK. THIS IS THE REASON FOR MISUNDERSTANDINGS AND HIERARCHIES WITHIN EVEN THE MOST DYNAMIC DISCURSIVE MODELS)
AGENCY IN RELATION TO ECO-POLITICS (CARBON EXCHANGE: THE LUKACS QUALITY OF ECO-SELF-CONSCIOUSNESS. THE OVER-RIDING OF THE POLITICSISZED DISCOURSE)
COALESCENCE/RETURN OF CLASSICAL RELATIONS OF PRODUCTION (+ THEIR ERASURE IN A DEVELOPED SENSE – DE-UNIONISZM ETC.)
CONSENSUS MODELS AS A PHANTOM PARALLEL (MODEL OF SOCIALLY RESPONSIBLE BUSINESS – AMELIORATED WORKING ENVIRONMENT…)
DETAILED WORK IN THE CULTURAL FRAME (WHO IS DOING IT? WHERE IS THE CONTEMPORARAY DYNAMIC LOCATED? ART CURATING THEORETICAL FOCUS)
chinese art is hot (selling records)
Chinese Contemporary art is hot. Recent international auctions have far exceeded expectations with one painting recently setting a new record for a contemporary Chinese artist. Among today's most prominent Chinese artists is Yue Minjun, whose signature laughing self-portrait has earned accolades from critics around the world
http://www.youtube.com/watch?v=HljR-cyAAKg
http://www.youtube.com/watch?v=HljR-cyAAKg
FAKE copy
Painters compete during a facsimile match in Dafen Village.
More than 110 contestants make facsimile of portrait or scenery oil painting in the timed match.
http://www.spiegel.de/img/0,1020,681425,00.jpg
30.8.10
haus der kunst: zuoxiao zuzhou in concert
(hoe kan je video's van Youtube halen via mac? welk programma gebruik je best?)
het concert
samenwerkingen met Ai Weiwei:
Discography
Studio Albums
2010
Zuoxiao Zuzhou OST For Ai Weiwei Works No.1
Film Scores
2010
An Isolated Man By Ai Weiwei
Beautiful Life By Ai Weiwei
2009
4851—May 12 Earthquake Student Victims List By Ai Weiwei
Old Mom Pettitoes By Ai Weiwei
2007
Fairy Tale By Ai Weiwei
2003
Eat Drink Play Joy By Ai Dan & Ai Weiwei
Zuoxiao Zuzhou founded his first notorious band “NO” in early 90's and he was also one of the founding member of the avant-garde artists commune “Beijing East Village”. As a primary songwriter, Zuzhou also plays various roles as the lead vocal, guitarist and violinist for his band. He commits himself to experimenting various music styles, exploring different approach to convey his feelings deeply inside up to present. He has a cult following and has influenced subsequent songwriters despite being low-profile and having little radio or MV support. Zuzhou’s seven critically acclaimed studio albums win lavish praises from China's harshest music critics and earn him numerous awards.
Zuoxiao Zuzhou. I Love Modern Art To. 2007
het concert
samenwerkingen met Ai Weiwei:
Discography
Studio Albums
2010
Zuoxiao Zuzhou OST For Ai Weiwei Works No.1
Film Scores
2010
An Isolated Man By Ai Weiwei
Beautiful Life By Ai Weiwei
2009
4851—May 12 Earthquake Student Victims List By Ai Weiwei
Old Mom Pettitoes By Ai Weiwei
2007
Fairy Tale By Ai Weiwei
2003
Eat Drink Play Joy By Ai Dan & Ai Weiwei
Zuoxiao Zuzhou founded his first notorious band “NO” in early 90's and he was also one of the founding member of the avant-garde artists commune “Beijing East Village”. As a primary songwriter, Zuzhou also plays various roles as the lead vocal, guitarist and violinist for his band. He commits himself to experimenting various music styles, exploring different approach to convey his feelings deeply inside up to present. He has a cult following and has influenced subsequent songwriters despite being low-profile and having little radio or MV support. Zuzhou’s seven critically acclaimed studio albums win lavish praises from China's harshest music critics and earn him numerous awards.
Zuoxiao Zuzhou. I Love Modern Art To. 2007
Open Harvard Lectures on China
Very interesting link cited by Wouter Vanhaelemeersch :
Open lectures China
Open lectures China
Making a book in group
Zach Gibson to Host 48-Hour Book Project at Levi's Workshop August 6-7, San Francisco, CCA news
"My plan is to document what happens when a group of artists makes content for a book that is about the content they produce. Will they work together to find a common thread? Will they work separately? Will a common thread arise even if they don't work together? How will they document their experience for reproduction? Everything about the book, from the content to the design to the production, will be decided upon during the 48 hours. I will be there the entire time, starting at 12:01 a.m. on August 6, whether the shop is open to the public or not!"
"My plan is to document what happens when a group of artists makes content for a book that is about the content they produce. Will they work together to find a common thread? Will they work separately? Will a common thread arise even if they don't work together? How will they document their experience for reproduction? Everything about the book, from the content to the design to the production, will be decided upon during the 48 hours. I will be there the entire time, starting at 12:01 a.m. on August 6, whether the shop is open to the public or not!"
28.8.10
China - Shanghai - CEIBS - Art Appreciation Week 2010
ongelooflijk dat het als concept in de blog stond !
MER contacteren?
BAM news
Het Consulaat-generaal steunt de CEIBS Art Appreciation Week 2010, die plaatsvindt van 19 tot en met 25 juni op de CEIBS-campus. In dit kader worden vanuit Belgische zijde volgende activiteiten georganiseerd:
De 'Boundless'-tentoonstelling vindt plaats van 10 tot en met 23 juni in DonGallery. De tentoonstelling belicht en illustreert de grenzeloze identiteit van talrijke Europese en Chinese kunstenaars die 'wereldwijd' denken en creëren. De Belgische kunstenaars Leroy+Leroy en Lore Vanelslande nemen deel aan deze tentoonstelling. De curator van de 'Boundless'-tentoonstelling is Anthony Van Renterghem (Pamflet).
Meer info:
Consulaat-generaal van België te Shanghai: www.diplomatie.be/shanghai
CEIBS Art Appreciation Week 2010: www.ceibs.edu/today/events/
Pamflet: www.pamflet.cn
DonGallery: www.dongallery.cn
MER. Paper Kunsthalle: www.merpaperkunsthalle.org
MER contacteren?
BAM news
China - Shanghai - CEIBS - Art Appreciation Week 2010
Van 19 tot en met 25 juni 2010Het Consulaat-generaal steunt de CEIBS Art Appreciation Week 2010, die plaatsvindt van 19 tot en met 25 juni op de CEIBS-campus. In dit kader worden vanuit Belgische zijde volgende activiteiten georganiseerd:
De 'Boundless'-tentoonstelling vindt plaats van 10 tot en met 23 juni in DonGallery. De tentoonstelling belicht en illustreert de grenzeloze identiteit van talrijke Europese en Chinese kunstenaars die 'wereldwijd' denken en creëren. De Belgische kunstenaars Leroy+Leroy en Lore Vanelslande nemen deel aan deze tentoonstelling. De curator van de 'Boundless'-tentoonstelling is Anthony Van Renterghem (Pamflet).
Een kunstboekententoonstelling MER. Paper Kunsthalle (Gent) is te bezichtigen tijdens de CEIBS Art Appreciation Week 2010 op de CEIBS-campus van 19 tot en met 25 juni 2010.
Beide evenementen worden mede tot stand gebracht door Pamflet.Meer info:
Consulaat-generaal van België te Shanghai: www.diplomatie.be/shanghai
CEIBS Art Appreciation Week 2010: www.ceibs.edu/today/events/
Pamflet: www.pamflet.cn
DonGallery: www.dongallery.cn
MER. Paper Kunsthalle: www.merpaperkunsthalle.org
27.8.10
Ai Weiwei : Never Sorry
A New Documentary Film Produced by MUSE Film and Television
The film is being produced by MUSE Film and Television and is slated for release in 2011.
Beijing-based journalist and filmmaker Alison Klayman has gained unprecedented access to Ai Weiwei, documenting his often quixotic crusade. From his international gallery shows to his detailed studio practice, from scholarly interviews with peer artists and critics to intimate talks with family members, Alison offers a portrait of this transcendent cultural figure, a man whose fusion of art and activism resonates not only in his homeland of China but in the world at large.
To join the Ai Weiwei: Never Sorry community, please visit our registration page.
To join the Ai Weiwei: Never Sorry community, please visit our registration page.
25.8.10
Jos de Mul, de Tao van de Chinese (Post)Avantgarde
A nice overview of Chine Avantgarde from Dutch culture-philosopher Jos De Mul (ErasmusUniv. R'Dam) who was visiting professor in China : Chinese avantgarde
Also in this article, Ai Weiwei is not precisely a leading figure...The author speaks about 80 groups of artists from the mid of 1980 and describes the famous exhibition some months before 1989 Tianmen debacle...
Also in this article, Ai Weiwei is not precisely a leading figure...The author speaks about 80 groups of artists from the mid of 1980 and describes the famous exhibition some months before 1989 Tianmen debacle...
22.8.10
Selected images China-voyage
Panda's, tigers and dragons: Ai Weiwei does have a link with these...; go with the flow (forever bikes ? - not long any more ?); change and patterns, visual and not visual traditions, governement planning and/or speculation in Beijing, red everywhere, tai ji or more karaokelike groupmovements,
perspective and smog, the blur between red and green lights: never really stop is the device; unifying principles, a lot about fake but china invented everything (also the 'pluimbal' I never saw before and is the most stunning game...), and what is not visible : Ai Weiwei's paradoxical status in China (appreciation), about the atmosphere and the story of Caochangdi (where Weiwei and Frank Uyterhaeghen started what now turns to be much more hot (in termes of serious art and money) than the 798-district and might be 'passé' very soon. About the popularity of the dog...(and this time not in a dish)
20.8.10
China news tagged with: Ai Weiwei (92)
artikels, interviews, videos met de man, chinese rock! Zuoxiao Zuzhou in concert, little Ai (Wu Yuren, the artist who is currently being detained after he was beaten in a Beijing police station)
etc !
http://chinadigitaltimes.net/china/ai-weiwei/
etc !
http://chinadigitaltimes.net/china/ai-weiwei/
19.8.10
ai weiwei @ Tate - Turbine Hall
The Unilever Series: Ai Weiwei
12 October 2010 – 2 May 2011
 |
Tate Modern's Turbine Hall, site of The Unilever Series © Tate |
The Chinese artist Ai Weiwei will undertake the eleventh commission in The Unilever Series for the Turbine Hall at Tate Modern.
This annual commission invites an artist to make a work of art especially for Tate Modern's Turbine Hall. The Series has resulted in some of the most innovative and significant sculptures of recent years. Admission to The Unilever Series is free.
This annual commission invites an artist to make a work of art especially for Tate Modern's Turbine Hall. The Series has resulted in some of the most innovative and significant sculptures of recent years. Admission to The Unilever Series is free.
net gemist !
Sjouwers voor de Oorlog
Vanaf 1917 werden zowat 140 000 Chinese arbeiders naar de Eerste Wereldoorlog in Europa gehaald. De Chinezen verrichtten er hard labeur achter het front. Dat eindigde niet met de Wapenstilstand: tot begin 1920 werden de koelies ingezet om puin en munitie te ruimen en om doden te begraven. De tentoonstelling brengt dit vergeten, maar boeiende hoofdstuk terug met film, foto's en tal van objecten.| Waar | In Flanders Fields Museum, Lakenhallen, Grote Markt, 8900 Ieper |
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17.8.10
China Art Archives & Warehouse: the Belgian-Weiwei connection
MCAF in Gent! http://www.mcaf.net/
China Art Archives & Warehouse
concentrates on experimental art from the People's Republic of China, including painting,
sculpture, photography, printing and installations
initiating and facilitating exhibitions and other forms of introductions inside and outside
China
Artistic Directors:
Ai Weiwei
Business Director: Frank Uytterhaegen
Gallery Managers: Xie Wenyue
Zhang Songxin
tel/fax: (+8610) 8456 5152
email: mail@caaw.com.cn
14:00 - 18:00 Wednesday till Sunday P.O.Box 100102-43 Beijing 100102
China Art Archives & Warehouse
concentrates on experimental art from the People's Republic of China, including painting,
sculpture, photography, printing and installations
initiating and facilitating exhibitions and other forms of introductions inside and outside
China
Artistic Directors:
Ai Weiwei
Business Director: Frank Uytterhaegen
Gallery Managers: Xie Wenyue
Zhang Songxin
tel/fax: (+8610) 8456 5152
email: mail@caaw.com.cn
14:00 - 18:00 Wednesday till Sunday P.O.Box 100102-43 Beijing 100102
Ai weiwei cited on a webpage of China Archive and Warehouse (Frank Uyterhaeghen, Beijing)
"Ai Weiwei takes a keen interest in altering and subverting the original function and significance of representative and symbolic elements in Chinese culture. His reconstructed Ming and Qing Dynasty furniture has no more practical function but still maintains its succinct and elegant proportions. His Han Dynasty urns covered in white industrial lacquer or painted with Coca-Cola logo probably can't be valued as antique any more but they clearly demonstrate the fundamental nature of daily utilities. Lining up of feet and hands of Buddhist sculptures in a grid showcases the variety of postures and styles and lends these fragments another form of unity. His body of work is diverse and versatile, all containing contradictions, absurdity and substantial discrepancy in time and space. His application of "readymade" is a tribute to Duchamp but the value and significance of his chosen medium (antique) lends his subversive gesture exceptional weight. Is he an antique connoisseur, a minimalist architect, a conceptualist or a post-modernist artist? Accidentally or not, in Nangao where Ai Weiwei resides in Beijing, Guang Han Tang - a thriving antique furniture business, and China Art Archives and Warehouse - a space for avant-garde art, are just a few steps apart from each other."
"Misleading Trails" in Multiple Perspectives
Xie Xiaoze
http://www.archivesandwarehouse.com/Gallery/CAAW/new_gallery/30_misleading_trails/all.htm
"Misleading Trails" in Multiple Perspectives
Xie Xiaoze
http://www.archivesandwarehouse.com/Gallery/CAAW/new_gallery/30_misleading_trails/all.htm
12.8.10
27.6.10
19.6.10
(link is niet meer on line / website is vernieuwd)
http://www.paolochiasera.org/paolochiasera/Vuoto_files/Forget%20the%20Heroes%20.pdf
http://www.paolochiasera.org/paolochiasera/Vuoto_files/Forget%20the%20Heroes%20.pdf
14.6.10
13.6.10
Exchange radical moments
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GROYS'TEKST
link naar artikel van Boris Groys over zwakke en sterke beelden (avant-garde)
The Weak Universalism
In these times, we know that everything can be an artwork. Or rather, everything can be turned into an artwork by an artist. There is no chance of a spectator distinguishing between an artwork and a “simple thing” on the basis of the spectator’s visual experience alone. The spectator must first know a particular object to be used by an artist in the context of his or her artistic practice in order to identify it as an artwork or as a part of an artwork.
But who is this artist, and how can he or she be distinguished from a non-artist—if such a distinction is even possible? To me, this seems a far more interesting question than that of how we can differentiate between an artwork and a “simple thing.”
...
The Weak Universalism
In these times, we know that everything can be an artwork. Or rather, everything can be turned into an artwork by an artist. There is no chance of a spectator distinguishing between an artwork and a “simple thing” on the basis of the spectator’s visual experience alone. The spectator must first know a particular object to be used by an artist in the context of his or her artistic practice in order to identify it as an artwork or as a part of an artwork.
But who is this artist, and how can he or she be distinguished from a non-artist—if such a distinction is even possible? To me, this seems a far more interesting question than that of how we can differentiate between an artwork and a “simple thing.”
...
12.6.10
horizontale nuchterheid ?
Questioning Ai Weiwei's sculpture
Een opstapeling van stoelen (metalen houten schoolmateriaal/vintage/modernistisch)
Erachter het witte vlak van de muur.
dixit: "Een sculptuur mag esthetisch zijn'.
Een bewegingssequens van stoelen met matig aanwezig centrum. Horizontale metalen buis.
Een minder utopische translation van Ai Weiwei's aarde en hemel verbindende vluchtlijnen.
"Om uit te nodigen tot interactie: bladen met tekst kunnen worden opgehangen"
Een interactieve format?
De sculptuur van positie veranderen: evenwichten doorbreken. Het kader van de ruimte doorbreekt het 'esthetische' kader.
Plat en neerwaarts. De sculptuur zoekt een ander evenwicht.
Posities expliciteren, Daoisme versus bouddhisme en de integratie van denkbeelden. Een sculptuur als een kaligrafie? Gesprek over de mogelijkheid van de metafoor. En de beperking. Iets belichten, de rest verdonkeren. Onderzoek laat altijd randvoorwaarden zien. Noodzakelijkheden en trivialiteiten en hoe het één in het ander uitmonden.
En uiteindelijk : politics. Elk kunstwerk is een politiek statement?
Verschillende posities laten zien, documenteren en afwijken van de regels van documenteren. Document als fictie? Anderen laten zien maar net niet alles zodat ze moeten verder zoeken. Hoe doen we dat morgen?
Op naar de Wereld van Shan...
Een opstapeling van stoelen (metalen houten schoolmateriaal/vintage/modernistisch)
Erachter het witte vlak van de muur.
dixit: "Een sculptuur mag esthetisch zijn'.
Een bewegingssequens van stoelen met matig aanwezig centrum. Horizontale metalen buis.
Een minder utopische translation van Ai Weiwei's aarde en hemel verbindende vluchtlijnen.
"Om uit te nodigen tot interactie: bladen met tekst kunnen worden opgehangen"
Een interactieve format?
De sculptuur van positie veranderen: evenwichten doorbreken. Het kader van de ruimte doorbreekt het 'esthetische' kader.
Plat en neerwaarts. De sculptuur zoekt een ander evenwicht.
Posities expliciteren, Daoisme versus bouddhisme en de integratie van denkbeelden. Een sculptuur als een kaligrafie? Gesprek over de mogelijkheid van de metafoor. En de beperking. Iets belichten, de rest verdonkeren. Onderzoek laat altijd randvoorwaarden zien. Noodzakelijkheden en trivialiteiten en hoe het één in het ander uitmonden.
En uiteindelijk : politics. Elk kunstwerk is een politiek statement?
Verschillende posities laten zien, documenteren en afwijken van de regels van documenteren. Document als fictie? Anderen laten zien maar net niet alles zodat ze moeten verder zoeken. Hoe doen we dat morgen?
Op naar de Wereld van Shan...
reflectiemoment
we kunnen (nog) geen uitspraken doen
laat
vallen
iconoclasme
Art Power
http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11408
sterke beelden
(leegmaken)
laat
vallen
iconoclasme
Art Power
http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11408
Table of Contents and Sample Chapters
sterke beelden
(leegmaken)
er is geen ruimte voor het bouwen
GRIDIRON hotels papageienzimmer (room of parrots) is a deliver mechanism that uses a relatively simple device - a room - in order to instigate a much wider series of responses and relationships. Using Raphael’s salle as a departure point, Papageienzimmer re-examines the strategy of using an art work as a device to reflect the human condition. Amongst the key concerns of this endeavour lie issues of enticement, migration, public and private space, thresholds, planning, trade and globalisation. The GRIDIRON uses space as a medium to explore strategies of performative narratives. Based on fictional and found histories, we construct a factional account that addresses different forms of organising strategies and our construction of hospitality.
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