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news & blog

May 2019

A White Space Odyssey

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Artists: Gao Lei, Gao Ludi, He Xiangyu, Jingfang Hao & Lingjie Wang, Ce Jian, Christine Sun Kim, Li Liao, Li Shurui, Liu Shiyuan, Liu Wentao, Liu Xinyi, Qin Jun, Shi Zhiying, Tan Tian, Tong Wenmin, Ignacio Uriarte, Wang Qiang, Wang Haiyang, Wang Tuo, Xie Fan, Yang Jian, Zhai Liang, Zhang Zipiao

Curator: Shen Chen

“As you set out for Ithaka, hope your road is a long one, full of adventure, full of discovery.”

In 1911, the Greek novelist Constantine Cavafy wrote these verses to a poem entitled, Ithaka. It expressed the writer’s nostalgia for his hometown and lament for long life. Being an exile in many ways, he distanced his writing from current literary trends. Instead, he created an independent spiritual world for his poetry. The island Cavafy mentioned in the poem is hero Odysseus’ hometown, portrayed in Homer’s 24-chapter epic, The Odyssey. In this epic, Odysseus, whose name means “way of mind” in ancient Greek, traveled for ten years on the sea to return to Ithaka.

As of now, dispersion has the attributes of many new and complex meanings. Particularly in the political and economic context of globalization, in a world decentralized yet connected through the Internet, to disperse may be construed as taking a proactive journey or making a self-driven choice. As in the case of 2001: A Space Odyssey, modeled on the classical literature of The Odyssey, in which a journey trapped on the sea is transformed into an active exploration to the enigmatic universe. In a world like the one we live in, the locations of birth, studies, work, and life for these 24 artists at White Space Beijing have also been shifting constantly on this long journey. However, we are more interested in the happiness, joy, confusion, obstacles, and the life they have inadvertently encountered, as well as how these experiences would pivotally impact their spiritual world and art practices?

A White Space Odyssey aims to present a “midway exposure” for the 24 artists’ journeys at White Space Beijing. By selecting these “cue-dependent” works of art that are transversal in their practice, we are given the opportunity to go back to the spiritual homeland of their respective artistic subjects. These “cue-dependent” works are not necessarily the most familiar pieces in their practices, however, to a certain degree, each exemplifies or embodies the artist’s personalized experiments and explorations with regards to subject matter, concept, and approach. With regards to the temporal component of this selection, some artists choose to exhibit their early works in order to address the approach they have taken that had a tremendous impact in their practice thereafter; others present the more recent works that exhibit the artists’ current and important transitions, as they may offer a response to their earlier practice. In terms of the spiritual component of the artworks, some embarked on introspective journeys that uncover the meanings of their internal experiences; others are proactively relating to the outside world and try to provide responses to the agitated realities – in spite in most cases, the two are intimately intertwined. These choices are made on the basis of the artists’ current work and their state of being, which aim to showcase their continuous critical thinking and commitment to art practice.

This exhibition is not interested in articulating a general experience. Instead, it hopes the viewer would engage with the practice of each individual artist by look into the long way they have come, tracing back their individual will, thinking, judgment and value choices. With the diversity and complexity of these individual lives, we hope to weave a radiant constellation and the possibility towards a future paradise.

Apr 2019

Laureate Contemporary Talents, François Schneider Foundation

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The call for applications for the 8 th edition was held from 1 st September to 1 st November 2018. The names of the 47 finalists of the competition chosen by 4 Expert Committees were announced in February 2019 and a booklet with 47 pre works -selected has just been published.

The final selection will take place on 4 April 2019 at the grand jury meeting in Wattwiller.
The selection of the winners will be announced on April 5 at 11 am at the François Schneider Foundation by Jean-Noël Jeanneney, President of the Grand Jury.

The 2019 grand jury, chaired by Jean-Noël Jeanneney , is composed of renowned personalities from the world of the arts:
Felizitas Diering (FRAC Alsace Director)
Alfred Pacquement (Heritage Curator, France)
Ernest Pignon Ernest (artist, France)
Fabrizio Plessi (artist , Italy)
Roland Wetzel (Director of the Tinguely Museum, Switzerland)

Meeting in Wattwiller on April 4th, the grand jury chose 7 artists of 4 nationalities as winners of the 8 th edition of the contest.
> Rachael Louise Bailey (United Kingdom) Global, 2018 . Sculpture, 3m in diameter.
> Guillaume Barth (France) The Second World, Elina, 2015. Video, 4mn41.
> Olivier Crouzel (France) 18 curtains, 2015. installation, 11,520 x 3,240 cm.
> Hao Jingfang and Wang Lingjie  (China – France) Over the rainbow, 2016. Installation, variable dimensions.
> Eva Nielsen (France)Zode IV , 2018. Painting, 200 x 180 cm.
> Capucine Vandebrouck (France) Puddle , 2017. Installation, variable dimensions.
> Wiktoria Wojciechowska (Poland – France) Short Flashes , 2013. Photography, 80 x 768 cm.

The works of the laureates will be presented in a collective exhibition at the Foundation’s art center and will be part of their collection. Over the years, a unique set of forty pieces has been created by the acquisition of the works of the laureates – drawings, paintings, sculptures, videos, photos or installations – illustrating the theme of water from different angles (scientific, political, ecological, philosophical, etc.) and testifying to the diversity of artistic practices of the 21st century.

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Apr 2019

Cosmos:2019

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Cosmos : 2019
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Curator : Valerie Perrin
From 13th April till 20th July 2019

In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
With : Susan Hiller, Cécile Beau, Venzha Christ, Guillaume Bertrand, les Éditions à Mort, David Guez, Jingfang Hao & Lingjie Wang, Esther Hunziker, Marie Lienhard, Silvi Simon, RYBN.ORG.

During the 1960s at the time of the Cold War, Space was an issue of national prestige, power and rivalry between the United States and the U.S.S.R. In reaction to the U.S.S.R. sending the first man into space (1961), the United States, sent the first man to the Moon. So, on July 20 1969, during the Apollo XI mission, man took his first step on the moon.
This historical event was broadcast globally, live via satellite, over television and radio, and reached an audience of more than 500 million people on this Blue Planet. A landmark event in media history, these images sparked a fertile imagination of space travel, confirming the aesthetic intuition of Stanley Kubrik’s film 2001 : A Space Odyssey, which had been released one year earlier. Where fiction anticipates reality…
Fifty years later, space became less about national conquest, more about scientific research and technological development with international collaborations like the International Space Station. Their images inundate the Internet and are quite accessible to all.
In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos ? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
Cosmos: 2019 is introduced by two codes: first, ‘Binary Stele’ by David Guez, which imprints the binary code of the iconic photo of man’s first steps on the moon onto material, thus retaining this image for eternity, second, an installation by Guillaume Bertrand, of the navigation software for the Apollo XI program, remembers Margaret Hamilton, the woman who created this software yet remained unknown for forty-seven years and because of whom, men were able to walk on the Moon.
The art works presented in the exhibition Cosmos: 2019 propose another journey in space: in the literal sense by experiencing flight with Logics of Gold by Marie Lienhard, and also by discovering the poetic and fictitious galaxies of Cécile Beau, solar and martian traces of Jinfang Hao and Lingjie Wang, Ester Hunziker and Silvi Simon. Cosmos: 2019 is also an opportunity to meet those who observed unidentified flying objects in the sky through the installation of Susan Hiller, the pop up book of Editions à Mort which gives a voice to ufologists. And, with the researches of Venzha Christ and RYBN.ORG to ask whether the cosmos might now be a new territory for intervention by artists.
Cosmos: 2019 towards another space conquest?
Opening on Saturday 13th October at 5 p.m in Espace multimédia Gantner

Feb 2019

COCOSMO

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Les recherches de Jingfang Hao et Lingjie Wang sont le fruit d’une « exaltante alliance des contraires ».

Leurs oeuvres puisent aux racines de la culture chinoise et sont nourries de références à l’histoire de l’art occidentale. A la fois
conceptuelles et sensuelles, objet et processus.

Cette bipolarité, que l’on retrouve dans le taoïsme mystique originel sous la forme du Yin et du Yang, est davantage une façon d’être au monde qu’un système.

Chacune de leurs oeuvres repose sur un dialogue entre une conception cartésienne et mathématique, héritée de leur formation d’ingénieurs et d’un intérêt pour l’art conceptuel occidental, et une vision sensuelle et poétique du monde et de la nature liée à leur culture chinoise et à leur connaissance de la matière qui compose les objets qui nous entourent.

Dec 2018

Rolling Snowball

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At 3:00 afternoon,on December 15, 2018.“Rolling Snowball·Nanjing”will be opened at AMNUA.This exhibition is led by Li Xiaoshan as the art director.Ineke Gudmundsson as the academic adviser and Chen Rui,Li Meilan are appointed as the curators.This exhibition will focus on the art works of 52 Chinese and foreign artists, including sketches,paintings,oil paintings,photography,installations,sculptures,performance,images and some comprehensive mediums.

Since 2010, “Rolling Snowball”project has been initiated by the China European Art Center and has been held for eleventh. The Rolling Snowball event brings together Chinese and foreign artists from different part of the world, whose fields span a wide range of media. This cultural exchange and cooperation has greatly enriched the culture, ideas and concepts of artists from all over the world, and helped them to refine their artistic views and redefine their relationship with the arts. This cross-cultural exchange is part of its thinking and is of great benefit to their work and connections at home and abroad.

International exchange is a nutrient for art itself. Art flows in every corner of the world. Cultural exchange can also be considered an art of perspectives. In the long history of intercultural relations, preconceptions and old narratives were tested, revised and adjusted through both dialogues and conflicts. In the best scenarios, we learn from one another and seek commonality despite differences, leading to deeper mutual understanding and greater mutual respect. The culture of the “other” is also like a mirror, reflecting our own cultural texture, so that we can look at ourselves more objectively through the perspective of the other. A richer perspective brings a broader perspective, and it allows us to become more aware of our own foothold in the broader world.

This winter, Let’s Rolling the Snowball in Nanjing!

Sep 2018

NATURE, KEY WORD OF JINGFANG HAO & LINGJIE WANG

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本期唐妮诗画廊继续对话艺术家组合郝经芳 & 王令杰。
The conversation between Danysz gallery and the duo artists Jingfang Hao & Lingjie Wang continues.

Meng YU – Danysz gallery

二位是工程学出身,后来为什么会选择艺术?

You both studied engineering, why did you choose art later?

郝经芳 & 王令杰 Jingfang Hao & Lingjie Wang

工业设计背景使我们能够预测观众如何看待我们的作品以及如何根据不同感官的输入来协调感知。这在一定程度上可以预测观众的反应。但即使我们的作品有时被视为有技术意义的,我们仍然认为它们的目的仍然是概念性的。换句话说,技术手段引导着感官为我们提供了通向我们感知的途径,但我们最感兴趣的是他们引导我们走向何方。

The engineering study makes us be able to technically coordinate perception base on different sensory inputs. That helps us to predict how the views would perceive our works. Even, our works are sometimes considered technically meaningful, we still belive that they are conceptual. In other words, through technic, the sense gives us the paths to our perception, but what interests us the most is where they are leading us to.

在视觉层面上,彩虹只是一些彩色的弧形。我们看到的这些颜色和形状只有在我们脑海中形成一个概念时才会有意义。比如在无人区的天空中出现的彩虹只是一种物理现象。彩虹之所以成为彩虹,就是在人们视觉所见之后被感知,被心灵所理解。

Visually, the rainbows are just some coloful arcs. But these colors and shapes we see become meaningful only when they form a concept in our mind. A rainbow appearing in the sky of a no deserted land is just a phenomenon. A rainbow is only a rainbow after it was seen and understood by our mind.

Fiona CHEN – Danysz gallery

在创作生涯中,有什么其它有趣的作品可以给我们介绍一下吗?

Do you have any other particular piece to introduce to us?

郝 & 王 Hao & Wang

与火烧云同样性质的颜料,我们用在了另一系列作品 ——《在万物运动的宇宙中画一条直线》上。它是在一个深色背景上,一个拖着尾巴的点,像一颗流星一样,极其缓慢地在天幕划过。通常观众一旦发现一个小点在慢慢运动,视线基本就舍不得离开它了。许多人在惊叹之余询问我们在技术上如何做到的。而我们也会问,大家在美丽的晚上,看到夜幕上一颗流星划过,也会问如何制作的么?

The same paint we used to make clouds, we applied it in another work Draw a Straight Line in a Universe Where Everything moves at All. It is on a dark background, a dot like a shooting star, slowly moving on the sky. Once people spot it, they usually can’t take their eyes off it. Being amazed by this artwork, many asked us how we made it. And we always ask as well, in a lovely evening, when we see a meteor flying through the sky, will or should we ask how it is made?

Meng

此次展览让观看者们欣赏到云、彩虹、湖泊沙漠等自然景观,我发现二位的艺术作品通常与自然相关,这是你们的创作理念吗?

The exhibition allows viewers to appreciate our nature, such as clouds, rainbows, lakes and deserts. I found that your artworks are usually related to the nature. Is this your main concept?

郝 & 王 Hao & Wang

一个人的世界观是复合的。从他/她对于自然的态度,也可以窥视他/她对于社会、政治、乃至人生的态度。

One’s philosophy is complicated. From his/her attitude towards nature, you can also peep into his/her attitude towards society, politics, and somehow life.

Fiona

相信你们的作品能为每一位观看者碰撞出视觉和心灵的火花,之后有什么创作方向可以给我们透露的吗?

I believe that your work can make some visual and spiritual sparks for every viewer. Any preview you could share with us regarding future works?

郝 & 王 Hao & Wang

谢谢。我们同时作为艺术家和自己作品的第一观众,也很期待我们下一件能够打动我们的作品。近期我们在上海的青当代艺术空间,南京艺术学院美术馆和重庆的四川美术学院美术馆都有展览正在进行。

Thank you. We are both artists and the first audience of our works at the same time, we are also looking forward to the next work which can touch us. Recently, we have some exhibitions in Qing Art Space in Shanghai, AMUNA in Nanjing and Art Museum of Sichuan Fine Arts Institute in Chongqing.