Amez, Not Vital

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AMEZ ----------------------------------------------------------------------------------------------------------------------------

11 auost – 1 settember 2013

impressum à 2013, fundaziun@notvital.com artists Ai Weiwei (艾未未)

Deng Tai (邓泰)

Hao Nan (郝楠)

He Yunchang (何云昌)

Huang Ran (黄然)

Hu Qingyan (胡庆雁)

Liu Dongxu (刘东旭) curatur Li Gao (力高) redactura Rukhsana Jahangir (卢克珊娜) grafica Süsskind SGD ediziun 1000 -

---------------------------------------------------------------------------------------------------------------------------Quista stĂ mossa la fundaziun Not Vital ad Ardez 7 artists chinais cun posiziuns differentas aint il art contemporan in China. Art politic, filosofic i poetic. Eu less ingrazchar als artists mo eir al curatur Li Gao sco eir a la redactura Rukhsana Jahangir per lur ingaschamaint.

NV 2013

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艾未未 板栗是为2011年在泰特现代美术馆的葵花籽作品的一个测试。 我们用瓷来创作在自然界相似或真实的形态 在中国的历史上、欣赏纯熟的工艺、模仿自然世界是一个学术传统。它是一种行为、没有特别的解释和 艺术的努力、试图通过人造的进程来模仿自然形态、并在这个过程中、考虑自然的意义。 在2012年11月、中国共产党第18届全国代表大会期间、全北京出租车司机被责令拆除出租车手摇窗口 曲柄、使乘客不能摇下窗户散发不良信息的传单。 窗口曲柄反映了讽刺意味的是、为了确保中国的主要政治事件的顺利进行、政府不惜牺牲的个人的权利 来 制造了更多的混乱。当权者总是试图不惜任何代价避免对抗或讨论。

Ai Weiwei Chestnut (板栗) 2011, Porcelain, 3.5 cm x 2.8 cm x 2 cm, Photo credit: Ai Weiwei

born 1957, Beijing Photo credit: Gao Yuan, Ai Weiwei, 2010

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Ai Weiwei

«Marun» d’era üna lavur da prova per il proget «sems da fluors da sulai» al Tate Modern a Londra dal 2011.

No lavurevan cun porcellana per crear fuormas sumgliaintas id er precisas sco quellas chi’s chatta aint in la natüra. Aint ill’istorgia chinaisa es üna tradiziun da studius da recrear cun grond savair fuormas da la natüra sainza bler’interpretaziun id aint il process da reconsiderar la significaziun da la natüra.

In november dal 2012 dürant il 18avel congress dal parti communist in China han ils taxists da Beijing gnü da scrauvgiar jó il manin per rivir la fanestra per cha’ls passagers nu possan büttar pamflets cunter il parti.

Quist indriz refletta l’ironia per cha’l progress da quist grond evenimaint in China funcziuna sainza obstacels. Il guverni crea daplü caos a favur dal pövel. Ils manaders improvan adüna da sviar cunfruntaziuns o discussiuns.

Ai Weiwei Window crank (车窗手柄) 2012, Colored glaze, 11.6 cm x 4 cm x 3.3 cm, Photo credit: Ai Weiwei -

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邓泰 邓泰如同暗夜里的一盏街灯、以其怪异、半裸、孤单的叙事 方式来诠释他心底深深的哀伤他就象一颗流星在黑暗中 转瞬即逝, 他的存在、他的痛苦、他的煎熬、一切都随着去 年七月的那天结束。

Deng Tai Untitled: Sky (无题:世外) 2012, 30 cm x 40 cm, Edition 1 of 8

1988 – 2012, Neijiang Untitled: Self Portrait B/W, 2012, 17 cm x 25 cm, Edition 1 of 8

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Deng Tai

La lavur da Deng Tai penetrescha chafuol, sco la s-chürdüm da not sün via chi interpretescha la malcuntantezza da’l cour.

Tai d’eira sco üna staila chi croda jo aint il tschêl, chi schmütscha sia preschentscha, sia dulur chi ha tut fin in lügl dal 2012.

Deng Tai Untitled: Glass and Water (无题:世外) 2012, 25.5 cm x 40 cm, Edition 1 of 8 -

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郝楠 郝楠的行为是在21 世纪巨大的城市,改变时间和空间的的 关系、柔和且坚定地、结合一种神秘的诗意的状态、一种 审美的诗意和强大的政治和哲学信息。

Hao Nan Chi-3 (极3) 2008, single channel video, edition No.1/3, 8 min 37 sec -

born 1981, Beijing -

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Hao Nan

L’acziun da Nan Hao müda per ün mumaint la relaziun tanter temp i spazi in üna gronda cità dal 21. tschientiner in möd gentil ma ferm i combinescha ün gest poetic misterius, ün’intervenziun estetica id ün messagi politic i filosofic.

Hao Nan Chi-3 (极3) 2008, single channel video, edition No.1/3, 8 min 37 sec -

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何云昌 我在我自己的身体上切了1米长、0.5–1厘米深的伤口、在这件 事上、我实现了民主。中国三十年的改革开放、人们的物质生活 发生了很大的变化、但在某些方面、民主的进程乏善可陈。

born 1967, Yunnan -

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He Yunchang

Eu n’ha dat ün tagl d’ün meter lung sün mes corp, tanter 0,5 id 1 cm chafuol i cun quai n’haja realisà democrazia. La vita ed il bainstar ha müdà bler in China, daspö la refuorma i l’uvertüra aint ils ultims 30 ons ma’l progress aint illa democrazia es minim id in tscherts aspects inadequat.

He Yunchang One Metre Democracy (一米民主) 2010, 80 cm x 121.4 cm, C-Print -

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黄然 我的工作探讨爱情、性、暴力和死亡的不确定性和共谋关 系、解决质量性的美学、完美和怪物之间的一个过渡。 它谋求发挥当代的不可分割的美学的堕落的和陶醉。

Huang Ran Disruptive Desires, Tranquility and the Loss of Lucidity (破坏性的欲望、宁静、清澈的损失) 2012, Edition of 5, HD video transferred to Blu-ray DVD, 22 min -

born 1982, Xichang, Sichaun -

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Huang Ran

Mia lavur explorescha l’intschertezza i la cumplizità tanter amur, sex, violenza i mort id adressa üna transiziun tanter «qual-ità» estetica da la perfecziun i la monstrusità i giova culla tentaziun id intoxicaziun da la corrupziun estetica aint illa contemporaneità.

Huang Ran Disruptive Desires, Tranquility and the Loss of Lucidity (破坏性的欲望、宁静、清澈的损失) 2012, Edition of 5, HD video transferred to Blu-ray DVD, 22 min -

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胡庆雁 这个作品就是一个雕像、从古希腊古罗马到文艺复兴、雕塑就是造像。雕像大 多是对外部的形体的塑像。 中国有一句古语<<人活一口气>>这一口气完全可以诠释一个人的特质、对我而 言外部形象并不非常重要、体积更为重要。 我的作品是一个试点的变化、我想以我特有的方式来造像、我的作品是通过塑 料袋这个媒介、从试点的外部转换为视点的内部、最终是一个体积的呈现。

born 1982, Weifang, Shandong -

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Hu Qingyan

Pel plü cur chi’s fa ün retrat dad üna persuna s’as mossa la fuorma exteriura.

Quia pero n’haja müdà il möd da verrer da l’exteriur a l’interiur, damaja aint il corp, aint il spazzi intern (ajer). Cun zofflar aint in ün sach da plastic n’haja transfuormà i sculpi quella fuorma i’l volüm in marmel. La grondezza da la sculptura in marmel es la fuorma objectiva dal spazzi intern dal corp. Ün dit chinais disch cha «la glieud viva ses zoffel», il zoffel interpretescha il corp mo eir il temperamaint d’üna persuna.

Hu Qingyan One Breath – Not (一口气) 2013, marble, 18 cm x 30 cm x 23 cm -

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刘东旭 <<满园春色关不住、一枝红杏出墙来。>>

Liu Dongxu With so much spring in the garden, how can it be contained? A spray of red apricot blossom has already reached over the wall (满园春色关不住、一枝红杏出墙来。) 2013, Plaster, 79.5 cm x 12.5 cm x 12.5 cm -

born 1983, Shanxibaoji -

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Liu Dongxu

Cun uschea richezzas aint in jert da prümavaira, co’s poja be as retgnair. Üna manzina cun fluors d’apricosas amo albas cucca fingià sur la saiv ora.

Liu Dongxu With so much spring in the garden, how can it be contained? A spray of red apricot blossom has already reached over the wall (满园春色关不住、一枝红杏出墙来。) 2013, Plaster, 79.5 cm x 12.5 cm x 12.5 cm -

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Middle

The idea for this exhibition had a very simple genesis – Not Vital’s admiration and interest in a group of contemporary artists whose work he has followed since establishing a studio in Beijing’s Caochangdi district in late 2008. Subsequently, work by these artists has entered the collection of the Fundaziun Not Vital, which hosts this exhibition.

This grouped exposition stands as representative of an art scene that is very different to that which we are familiar with in Europe, where the ‘artworld’ has become a major element of popular culture, less elite and increasingly part of the mainstream. This is very far from the reality of the art scene in Beijing. There, ask an ordinary passer-by if they are aware of the internationally-known artist Ai Weiwei, and you are very likely to be greeted by a puzzled face of non-recognition.

In the west, we are accustomed to museums and galleries being readily accessible and visited by a wide demographic range. Not so the case in China, where students and everyday people are unlikely to enter such institutions. Put simply, in a country where the emphasis is on rapid development, progress, fortune-building, or simply survival, art is a rare isolated bubble – either for the elite that have the wealth to collect it, or for those artists for whom the practice of art is not an option, but a necessity, a life-choice. The vast majority of people in China have no idea about the concept of an ‘artworld’, let alone the figures that populate it. The luxury of devoting thought, energy or indeed financial outlay to art, is a notion very far removed from the everyday reality of most Chinese.

Many artists end up practicing and living in certain areas of the city, the most well-known example of which is Songzhuang, an area in the eastern suburbs of Beijing where over a thousand artists live in close proximity to one another. Artists at all stages of their career development are here: from those that have achieved great success to the many numbers struggling to survive. Within these communities, there is certainly an understanding and knowledge of the art ‘superstars’ who have fame and fortune.

Many may aspire to this but there is also a realistic awareness that the chances of reaching this are slim to none.

Life in modern China is certainly not easy to summarise, categorise or indeed understand, especially for those who are not living within it. Like any rapidly developing country, great highs and lows are encompassed within its contemporary existence. Although the scale, speed and scope of everyday existence within this super-power nation is not easy to express, the artists shown in Middle explore their predominant experiences and impressions of contemporary Chinese life, in greatly differing forms.

From Hao Nan’s philosophical interludes, performed amongst the congested Beijing traffic system, to Liu Dongxu’s quiet and graceful sculptural allegories, He Yunchang’s fiercely uncomprising use of his physical self as a vehicle of expression and Deng Tai’s isolated vacillations between self and society, the complexity of expression explored across these artistic articulations is expansive and diverse. At times plunging to depths of anguish, at time soaring to exquisite heights, these works leave us with searing images that will resound and remain in mind long after one has left their physical presence.

Rukhsana Jahangir, July 2013

Rukhsana Jahangir (卢克珊娜) Redactura -

Li Gao (力高) Curatur -

fundaziun

Not Vital

7546 Ardez