Mikhail Baryshnikov - Dancing Away - ContiniArtUK by ContiniArtUk

CONTINI ART UK

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DA N C I N G AWAY Mikhail Baryshnikov

BARYSHNIKOV ARTS CENTER (BAC) is the realization of a long-held vision by artistic director Mikhail Baryshnikov to build an arts center in New York City that would serve as a gathering place for artists from all disciplines. BAC’s opening in 2005 heralded the launch of this mission, establishing a creative laboratory and performance space for artists from around the world. BAC’s activities encompass a thriving residency program augmented by a range of professional services, including commissions of new work, as well as the presentation of performances by artists at varying stages of their careers. In tandem with its commitment to supporting artists, BAC is dedicated to building audiences for the arts by presenting contemporary, innovative work at affordable ticket prices.

www.bacnyc.org

Alexey Brodovitch’s photograph from Alexey Brodovitch. Ballet: 104 Photographs (New York, New York: J.J. Augustin, 1945).

Folio concept and design by Vladimir Radunsky Essay by Clement Crisp, dance critic for The Financial Times Printing, mounting and framing by Laumont Studio, New York City Mikhail Baryshnikov photo by Annie Leibovitz

CONTINI ART UK Modern + Contemporary Art Gallery 105 New Bond Street London, W1S 1DN England www.continiartuk.com

Printed in Italy

This exhibition would not have been possible without the continual enthusiasm and support of Stefano, Riccarda, Federico and Cristian Contini. The entire team at ContiniART UK has been tremendous, especially Diego Giolitti. In the making of this exhibition I deeply thank Vladimir Radunsky, Philippe Laumont, Alison Bradshaw, Kate Kosek, and Huong Hoang for their attention to detail and quality. Always, to my wonderful staff at Baryshnikov Arts Center. And above all, my wife Lisa Rinehart and our family for their love, patience, and support.

Baryshnikov signature to come

Alexey Brodovich, Septieme Symphonie, 1945

Paul Himmel, Scene from Orpheus, 1953

Irving Penn, Alexandra Beller (QQ), New York, 1999

For two decades I used a conventional 35mm camera and practiced traditional landscapes, portraits, and travel shots, primarily in black and white. I made a point of rejecting obvious opportunities to photograph dance, thinking the results were boring and unnecessary. Then, going through some old books of dance photography—notably Alexey Brodovitch’s Ballet, and Paul Himmel’s 1954 Ballet in Action—I discovered that abandoning the crystalline image in favor of blurred edges and amorphous figures approximates the excitement of dance in performances. Ilse Bing’s mesmerizing images of CanCan dancers at the Moulin Rouge, as well as her photos of Balanchine’s Errante, and perhaps most importantly, the recent images of Alexandra Beller in Dancer by Irving Penn, were further evidence that the thrill of movement can be captured without being destroyed. Edwin Denby, the late poet and influential dance critic, described this process eloquently in the text accompanying Brodovitch’s photographs.

“…the blurred outline of the dancer, assimilated to the general dim effect, registers as a metaphor of motion. Sometimes the misty shape that joins successive points through which the dancer’s body has passed astonishes you by the clarity of its graphic design, and it illustrates the plastic continuity of dancing. Here and there the contrast on a picture between blurred and clear outlines draws your eye to the position of a still figure that on stage might have passed unnoticed in the hubbub, but that in the photograph reveals its momentary pathos.”

So it was possible.

I am both humbled and honored by the opportunity to show my work at the ContiniArt UK Gallery.

Mikhail Baryshnikov

BARYSHNIKOV PHOTOGRAPHS Clement Crisp, September 2014

Here in the West, we first saw Mikhail Baryshnikov as a member of the Kirov (now Mariinsky) Ballet company. A considerable reputation had preceded him – talk percolated out of Sovietera Leningrad about a young dancer of prodigious gifts – and the astonishing truth of this was to be the bare fact of his dancing career in the West thereafter. A distinguishing quality of his dancing then, and of all his performances in dance and theatre thereafter, was and remains clarity of image which combined marvellous physical resource with an emotional and dramatic potency. His performances spoke on several levels: of commanding grace and urgency; of clear dramatic outline; of an intelligence that sought – and found – justification for movement on terms both theatrical and questioning. If I mention these qualities it is because in everything that I have seen Baryshnikov dance, from his earliest prodigies as an artist on the very brink of greatness to the later, intellectually questioning roles of his mature performances, there is a potent sense of his concern for a central image in what he does, for some defining flash of insight – physical, emotional – that will fix a role, even a single movement, for the watching eye.

A dancer photographing dancers - and the dance - has the extraordinary advantage of knowing how the movement “feels”, of sensing it still in his body, of understanding its effects, its intentions, its shape, both in visual terms and in those of the body and the muscular effort and discipline that is making it. He senses the elan ACUTE ON E , the surge of energy, knows its sensory shape as a dancer and shows this shape to an audience, understanding its purpose and validity. Baryshnikov moving, Baryshnikov understanding that movement in another performer as he captures its image with his camera, presents us with the idea of the camera not merely as recording force but as player in that drama which is ever the relationship between photographer and subject. There are secrets, reserves of feeling, dramas of temperament, sheer damned tedium and exasperation, involved in making the camera record dance. With Baryshnikov there is the fact of a most sophisticated eye behind the camera’s lens, an eye that has seen and known decades of photographers in pursuit of his own physical image, an eye that has accepted or rejected images of himself as true, revealing, honourable in portraying a danced role, in recording something of himself as dancer, as theatrical artist, as physical presence. Placed in exactly the reverse situation – as camera rather than subject – Baryshnikov has brought that hard-earned awareness of the muscular, emotional, theatrical

truth which a dancer hopes to give to his audience, to the making of his own photographic records of dancers and dance-makers.

The choices he has made, the images he has sought – and found – have a double fascination for us: as portrayals of dance created and selected by a dance artist of undeniable greatness and achievement; and as contemplations, explorations, of dance that has held his imagination, stimulated his wish to preserve them, engaged his undeniable gifts to explore their sense, their mechanics, their emotional as well as their physical essence.

Photographs of dancers can tell you something about the performer – about a beautiful physique, a ravishing face, even about the schooling that has prepared the artist for performance – but about the dance itself…? Amid the historical torrent, the Niagara of dance photographs, the image celebrates the performers’ physical appearance, even the vivid stretch of limbs, but about the movement’s reality in time? Edgar Degas spoke of his paintings of dancers (and he also photographed them in his last years) as a means of “rendering movement”. As the camera became more sophisticated, so of course did its response to dance. Baron de Meyer fixed Nijinsky’s theatrical presence for us so that we have some real sense of his artistry. Strobe photography was later to produce images of dancing that caught, held, even contrived to explain the mechanics and the exhilaration of a sequence of movement. The image of the dancer was no longer of time stopped, limbs in frozen action in the ice of time, but of something nearer a memory of a dancer in action, of Degas’ “rendering of movement”. (Harold Egerton, fascinated by objects in micro-second existence, fixed something of the genius of Alicia Markova in a strobe photograph which still tells truths about the artistry of this great ballerina whom I adored.) Mikhail Baryshnikov, stimulated by the sense of motion (and emotion) held in the photographs of such innovators as Alexey Brodovitch and Paul Himmel with their blurred exposures and vastly evocative outlines, has seen how the life of the dance can be found in the camera’s image. His dancing spoke superbly to us of dance movement. And so, too, his photographs. We understand the body in action. And the action itself.

Born 1948 in Riga, Latvia, Mikhail Baryshnikov is considered one of the greatest dancers of our time. After commencing a spectacular career with the Kirov Ballet in Leningrad, he came to the West in 1974, settling in New York City as a principal dancer with American Ballet Theatre (ABT). In 1979 he joined New York City Ballet, where he worked with George Balanchine and Jerome Robbins. A year later he was appointed artistic director of ABT where, for the next decade, he encouraged a new generation of dancers and choreographers. From 1990-2002, Mr. Baryshnikov was director and dancer of the White Oak Dance Project, a touring company he co-founded with choreographer Mark Morris. In 2005, he launched the Baryshnikov Arts Center (BAC) in New York City, a creative space for presenting and nurturing multidisciplinary artists from around the globe. Under his leadership as artistic director, BAC’s programs serve more than 700 artists and 22,000 audience members annually.

Among Mr. Baryshnikov’s many awards are the Kennedy Center Honors, the National Medal of Honor, the Commonwealth Award, the Chubb Fellowship, the Jerome Robbins Award, and the 2012 Vilcek Award. In 2010 he was given the rank of Officer of the French Legion of Honor.

Mr. Baryshnikov is an Academy Award-nominated actor, and a photographer whose work has been exhibited in museums and galleries worldwide. His photographs have been featured in publications such as Aperture and Vanity Fair, and published in several books, including Merce My Way (2008).

Solo Exhibitions: Dancing Away November 28, 2014 – January 31, 2015: ContiniArt UK, London, England Dance This Way December 20, 2013 – April 21, 2014: Contini Galleria D’Arte, Cortina, Italy December 21, 2013 – January 4, 2014: Space SBH, St. Barts. FWI May 27-October 30, 2013: Contini Galleria D’Arte, Venice, Italy October 24 – 27, 2012: Suzanne Dellal Centre, Tel Aviv, Israel February 23 – March 23, 2012: Gary Nader Art Centre, Miami, Florida Merce My Way March 25 – May 18, 2009: St. Petersburg Russian Museum at the Stroganov Palace, St. Petersburg, Russia June 20 – August 8, 2008: Martin Weinstein Gallery, Minneapolis, Minnesota March 18 – May 4, 2008: 401 Projects Gallery, New York, NY November 17, 2007 – January 31, 2008: Pobeda Gallery, Moscow, Russia Dominican Moves September 2 – October 10, 2008: Casa de Teatro, Santa Domingo, Dominican Republic March 15 – April 30, 2008: Founders Gallery, Cap Cana, Dominican Republic September 15 – November 2, 2007: J. Johnson Gallery, Jacksonville, Florida August 3 – September 15, 2007: (Selected Works), C21 Museum, Louisville, Kentucky March 1 – 31, 2007: Edwynn Houk Gallery, New York, NY Moment In Time March 1 – June 18, 2006: Latvian National Opera House, Riga, Latvia December 6, 2005 – January 5, 2006: Pushkin State Museum of Fine Arts, Moscow, Russia October 24 – November 24, 2005: Actor’s House, St. Petersburg, Russia and Museum of History of Photography, St Petersburg, Russia August 5 – 21, 2005: Festival del Sole, Teatro Signorelli, Cortona, Italy July 2004: Metropolitan Opera House, New York, NY May 2004: Gibbes Museum, Charleston, North Carolina April 30–May 12, 2004: Movado SOHO Boutique, New York, NY Group Exhibitions: Unsuspected Photographers, Celebrities behind the Lens November 21, 2007-January 6, 2008: Fundación Municipal de Cultura, Valladolid, Spain September 8-October 5, 2007: Festival Internazionale di Fotografia in Cesano, Maderno, Milan, Italy May 30-July 22, 2007: Sala de exposiciones de la Fundación Canal, Photo España Festival, Madrid Spain

Bibliography: The New York Times, March 23 2008—“Baryshnikov’s Artistry, Behind the Camera,” by Alastair Macaulay. New York Magazine, May 17, 2008 — “Mikhail Baryshnikov and Merce Cunningham Talk Dance Photography,” ed. Dan Kois and Lane Brown. ARTnews, May, 2007 – Dominican Moves exhibition review “A Little Dance with a Digital Camera,” by Milton Esterow Aperture No: 170, Spring 2003– Mikhail Baryshnikov, “Pointe and Shoot – an interview with Mikhail Baryshnikov” by Melissa Harris

Untitled #1, 2006 Night club dancer in the Dominican Republic Edition 1/3 Print size: 105.41 cm × 137.16 cm / 41.50” × 54.00” Frame size: 109.55 cm × 141.30 cm × 5.08 cm / 43.13” × 55.63” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #2, 2010 Adrien Dantou in “Sarabande” by Benjamin Millepied Edition 2/3 Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00” Frame size: 115.57 cm × 140.97 cm × 5.08 cm / 45.50” × 55.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #3, 2011 Chen-Wei Lee of Batsheva Dance Company Edition 2/3 Print size: 98.43 cm × 137.16 cm / 38.75” × 54.00” Frame size: 102.57 cm × 141.30 cm × 5.08 cm / 40.38” × 55.63” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #4, 2011 Rebecca Hytting and Bobbi Smith of Batsheva Dance Company Edition AP 1/3 Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00” Frame size: 115.90 cm × 141.30 cm × 5.08 cm / 45.63” × 55.63” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #5, 2006 Flamenco dancer in Madrid Edition 2/3 Print size: 111.45 cm × 137.16 cm / 43.88” × 54.00” Frame size: 115.57 cm × 141.30 cm × 5.08 cm / 45.50” × 55.63” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #6, 2008 Alexandre Hammoudi in “Without” by Benjamin Millepied Edition 2/3 Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00” Frame size: 115.57 cm × 140.97 cm × 5.08 cm / 45.05” × 55.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #7, 2008 Merce Cunningham Dance Company in “eyeSpace” by Merce Cunningham Edition 3/3 Print size: 111.76 cm × 137.16 cm / 44.00” × 54.00” Frame size: 115.57 cm × 140.97 cm × 5.08 cm / 45.50” × 55.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #8, 2007 Kelly and Facundo dancing the Tango Edition 2/3 Print size: 94.81 cm × 137.16 cm / 37.32” × 54.00” Frame size: 99.06 cm × 141.29 cm × 5.08 cm / 39.00” × 55.63” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #9, 2008 The Béjart Ballet Lausanne in “Casino des Esprits” by Gil Roman Edition 1/3 Print size: 102.50 cm × 137.16 cm / 40.36” × 54.00” Frame size: 106.68 cm × 141.29 cm × 5.08 cm / 42.00” × 55.63” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #10, 2010 RUBBERBANDance Group Edition 1/3 Print size: 141.61 cm × 111.44 cm / 55.75” × 43.88” Frame size: 146.05 cm × 115.57 cm × 5.08 cm / 57.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #11, 2011 Chen-Wei Lee and Iyar Elezra of Batsheva Dance Company Edition 3/3 Print size: 149.54 cm × 111.44 cm / 58.88” × 43.88” Frame size: 156.21 cm × 115.57 cm × 5.08 cm / 61.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #12, 2012 Brazilian Hip Hop Dancers Edition 1/3 Print size: 142.70 cm × 111.44 cm / 56.18” × 43.88” Frame size: 146.69 cm × 115.57 cm × 5.08 cm / 57.75” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #13, 2009 Traditional Hula Dancers Edition 2/3 Print size: 139.70 cm × 111.44 cm / 55.00” × 43.88” Frame size: 143.83 cm × 115.57 cm × 5.08 cm / 56.63” × 45.5” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #14, 2006 Disco Edition AP 3/3 Print size: 154.94 cm × 111.44 cm / 61.00” × 43.88” Frame size: 159.07 cm × 115.57 cm × 5.08 cm / 62.63” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #15, 2008 Dancing Bachata in the Dominican Republic Edition 1/3 Print size: 144.78 cm × 111.44 cm / 57.00” × 43.88” Frame size: 148.91 cm × 115.57 cm × 5.08 cm / 58.63” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #16, 2010 Sara Mearns and Amar Ramasar in “Why am I not where you are” by Benjamin Millepied Edition 1/3 Print size: 177.48 cm × 111.44 cm / 69.88” × 43.88” Frame size: 181.61 cm × 115.57 cm × 5.08 cm / 71.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #17, 2010 Sean Suozzi and Kathryn Morgan in “Why am I not where you are” by Benjamin Millepied Edition 2/3 Print size: 177.48 cm × 111.44 cm / 69.88” × 43.88” Frame size: 181.61 cm × 115.57 cm × 5.08 cm / 71.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #18, 2008 Paris Opera Ballet in “A Sort Of” by Mats Ek Edition 2/3 Print size: 147.07 cm × 111.44 cm / 57.90” × 43.88” Frame size: 149.23 cm × 115.57 cm × 5.08 cm / 58.75” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #19, 2008 Paris Opera Ballet in “A Sort Of” by Mats Ek (This print is not included in the 2013 Contini Gallery exhibition). Edition 2/3 Print size: 145.10 cm × 111.44 cm / 57.13” × 43.88” Frame size: 151.13 cm × 115.57 cm × 5.08 cm / 59.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #20, 2008 Merce Cunningham Dance Company in “eyeSpace” by Merce Cunningham Edition 1/3 Print size: 155.58 cm × 111.44 cm / 61.25” × 43.88” Frame size: 159.39 cm × 115.57 cm × 5.08 cm / 62.75” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #21, 2008 Merce Cunningham Dance Company in “CRWDSPCR” by Merce Cunningham Edition 1/3 Print size: 189.87 cm × 111.44 cm / 74.75” × 43.88” Frame size: 196.53 cm × 115.57 cm × 5.08 cm / 77.38” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #22, 2008 Merce Cunningham Dance Company in “CRWDSPCR” by Merce Cunningham Edition 2/3 Print size: 137.74 cm × 111.44 cm / 54.23” × 43.88” Frame size: 141.92 cm × 115.57 cm × 5.08 cm / 55.88” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #23, 2011 Doug Letheren, Ian Robinson, and Rachael Osborne of Batsheva Dance Company Edition 1/3 Print size: 136.53 cm × 111.44 cm / 53.75” × 43.88” Frame size: 140.65 cm × 115.57 cm × 5.08 cm / 55.38” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #24, 2010 Robert Fairchild and Wendy Whelan in “Namouna, a Grand Divertissement” by Alexei Ratmansky Edition 1/3 Print size: 119.70 cm × 111.44 cm / 47.13” × 43.88” Frame size: 123.83 cm × 115.57 cm × 5.08 cm / 48.75” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #25, 2008 Merce Cunningham Dance Company in “eyeSpace” by Merce Cunningham Edition 1/3 Print size: 132.72 cm × 111.44 cm / 52.25” × 43.88” Frame size: 136.84 cm × 115.57 cm × 5.08 cm / 53.88” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #26, 2009 Traditional Hula Dancer Edition 1/3 Print size: 111.44 cm × 111.44 cm / 43.88” × 43.88” Frame size: 115.57 cm × 115.57 cm × 5.08 cm / 45.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #27, 2011 Claire Westby in “she dreams in code” by Liz Gerring Edition 2/3 Print size: 190.29 cm × 111.44 cm / 74.92” × 43.88” Frame size: 194.31 cm × 115.57 cm × 5.08 cm / 76.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #28, 2012 Laura Halzack, Michael Apuzzo and Sean Mahoney in “House of Joy” by Paul Taylor Edition 1/3 Print size: 106.05 cm × 137.16 cm / 41.75” × 54.00” Frame size: 109.86 cm × 140.97 cm × 5.08 cm / 43.25” × 55.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #29, 2012 Sean Mahoney, Michael Novak, Michael Trusnovec and Michael Apuzzo in “Gossamer Gallants” by Paul Taylor Edition 1/3 Print size: 168.91 cm × 111.76 cm / 66.50” × 44.00” Frame size: 171.45 cm × 115.57 cm × 5.08 cm / 67.50” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #30, 2012 Elizabeth Bragg and Jeffrey Smith in “Cloven Kingdom” by Paul Taylor Edition AP 1/3 Print size: 102.24 cm × 111.76 cm / 40.25” × 44.00” Frame size: 106.05 cm × 115.57 cm × 5.08 cm / 41.75” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #31, 2012 Mark Morris Dance Group in “Grand Duo” by Mark Morris Edition 1/3 Print size: 162.56 cm × 111.76 cm / 64.00” × 44.00” Frame size: 166.37 cm × 115.32 cm × 5.08 cm / 65.50” × 45.40” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #32, 2012 Mark Morris Dance Group in “Grand Duo” by Mark Morris Edition 3/3 Print size: 190.18 cm × 111.76 cm / 74.88” × 44.00” Frame size: 194.00 cm × 115.57 cm × 5.08 cm / 76.38” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #33, 2012 Mark Morris Dance Group in “Grand Duo” by Mark Morris Edition AP 1/3 Print size: 190.18 cm × 111.76 cm / 74.88” × 44.00” Frame size: 194.00 cm × 115.57 cm × 5.08 cm / 76.38” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #34, 2012 Mark Morris Dance Group in “Grand Duo” by Mark Morris Edition 2/3 Print size: 190.18 cm × 111.76 cm / 74.88” × 44.00” Frame size: 194.00 cm × 115.57 cm × 5.08 cm / 76.38” × 45.50” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #35, 2014 Brazilian Forró, Argentina Edition 1/3 Print size: 118.11 cm × 77.47 cm / 46.50” × 30.50” Frame size: 121.62 cm × 80.98 cm × 5.08 cm / 47.88” × 31.88” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #36, 2014 Escola de Samba Portela, rehearsal for Carnival competition in Ireneo Portela, Buenos Aires Edition 1/3 Print size: 155.52 cm × 111.76 cm / 61.23” × 44.00” Frame size: 159.03 cm × 115.27 cm × 5.08 cm / 62.61” × 45.38” × 2” Archival Pigment Print on Canson Edition Etching Paper

Untitled #37, 2014 Baile Charme, under the bridge at Madureira, Rio de Janeiro Edition 1/3 Print size: 147.32 cm × 111.76 cm / 58.00” × 44.00” Frame size: 150.83 cm × 115.27 cm × 5.08 cm / 59.38” × 45.38” × 2” Archival Pigment Print on Canson Edition Etching Paper

38 Untitled #38, 2014 Milonga Canning Dance Hall in Buenos Aires Edition 1/3 Print size: 147.32 cm × 111.76 cm / 58.00” × 44.00” Frame size: 150.83 cm × 115.27 cm × 5.08 cm / 59.38” × 45.38” × 2” Archival Pigment Print on Canson Edition Etching Paper