平行世界 BOLG | ONE WORLD EXPOSITION BOLG

2011.12.09

平行世界 开幕式 大合影

One World Expo / Opening Grand Gathering

*Photo provide by Osage Kwun Tong, Hongkong (Doreen Chan, Sybil Kot)

More Photos: http://www.flickr.com/photos/bjartlab/sets/72157628359287861/ (更多展览图片)

http://www.springworkshop.org/exhibitions.html

12月9日

没时间上豆瓣的伪清新 ：向@汪建伟WJW @榮念曾 提问：你觉得传统的绘画会有死亡的一天吗？

汪建伟WJW：传统和绘画是两个概念，能够死亡的就可以叫传统，绘画和传统和所有的事物都一样，能死亡的就不会在今天出现，能出现的就不会出现。

榮念曾：有死亡才會有再生，我還是相信火鳥的傳說。

http://talk.weibo.com/ft/201112092816 微博访谈现场

The Multi-threaded Narrative of Foreign National Sentiment

Interviewer: Li Zhenhua
Interviewee: Qiu Zhijie

Li: Let’s talk a bit about your work “The West,” when did you start to create this work.

Qiu: “The West” was begun just about after my nationalist sentiment began to stir.

Li: How do you explain it?

Qiu: Through my study of calligraphy, since I was young I received a rather orthodox and traditional education, but throughout the 1990s everything that I read was Western philosophy and theory in translation. In 1997 I changed, I started to use a rather international perspective to think about all of the concepts and influences that we were receiving. At that time I started to compare and to prepare different materials. It was in 1999 that I started concentrating on that work. It was just after the Americans bombed the Chinese embassy in Yugoslavia. At that time, seeing university students attacking the American Embassy, many Chinese had different reactions. During the peak of attack, the most grieved and angry ones were the students who had bleached yellow hair. Little Brats. Their heads are all blonde, sitting in protest throughout the entire night with their lit candles. (laughs) The nationalism was zealous, lamenting the accident victims. So watching that kind of worshipper of Western culture, superficially so anyways, I suddenly experienced a turnaround, suddenly becoming taking a fervent, opposite stance. At that time I started to compare, deeply begin work on the project. It was like that.

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异国情调的多线性叙述

访问人：李振华
被访人：邱志杰

文本整理：李振华

李：老邱，我们聊一下关于你的作品《西方》，那个作品是什么时候开始做的？

邱：《西方》那个作品大概是从我的民族主义情绪起来之后。

李：你怎么解释？

邱：通过书法的学习，我从小受到比较正统的传统思想教育，但是整个九十年代中期所读的全是翻译过来的西方哲学理论。到97年的时候有了一个变化，开始用一种比较国际化的眼光来考虑我们自己所收到的观念的影响。那时候，就开始比较，开始准备一些材料。然后，比较集中的开始做那个作品是99年，就是美国人炸中国南斯拉夫使馆。在那次事件中，看到大学生们去冲击美国使馆，各种中国人有各种各样的反应。而且在冲击美国使馆的时候最激烈的，显得最悲情的，就是那些染着黄头发的学生。小屁孩们。头上都染着黄头发，围坐在那里，一整个通宵，点着蜡烛。（笑）在那里哀悼死难者，民族情绪最强烈。所以就这种非常崇洋的，或者表面上很洋的小孩，他可能突然间一翻身，就变成一个非常激烈的相反的立场。那时候我开始比较，比较深入的着手做这个东西。

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http://www.flickr.com/photos/owe2011/

实时更新图片

策划：李振华

当代艺术与投资 出版

编撰：李振华

1841 – 201X / San Yuan Li – Hong Kong – Da Tang Jie – San Yuan Li (Mixed media installation)

Linda C.H. Lai (2011)

Taking the opportunity of a dialogue with Ou Ning and Cao Fei’s San Yuan Li (2003), I made a chronology that travels through time and space alternately between Hong Kong and Guangzhou, specifically San Yuan Li, where a local anti-colonial revolt against the Opium War was raised (1841) and Da Tang Jie, where my Grandma’s son and family lived (1950s-1980s). Past the millenium, the family was re-located to San Yuan Li as a result of urban re-development.

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《1841至201X／三元里－香港－大塘街－三元里》（混合媒體裝置）

黎肖嫻（2011）

為了跟歐寧和曹斐的《三元里》進行對話，我創作了《1841至201X／三元里－香港－大塘街－三元里》，在他們的錄像和我的《看得見的聲音，聽得見的影像》之間畫出一條時間線，以遊戲的心情，看可以在線上勾出幾多個點，也想知道有沒有辦法把香港和三元里放在同一個導向上。很快我便曉得這條線一早已寄藏於我的下意識裡，忽然給喚醒了。 (more…)