Preparation Thoughts on Spiritual Graphic
The OldSummerPalaceis not only a historical relic, but also a node which is always difficult to be healed in the spirit of Chinese people. Search LostOldSummerPalaceand 1860: T
The Old Summer Palace in the Great Catastrophe, two books take ”The Old Summer Palace" historical case as the describing theme, both the former author Wang Rongzu (a scholar of modern Chinese history) and the latter Bona・Bulisai (French historian and senior journalists) Especially as a French, Bulisai is the first book writer for The Old Summer Palace after the article Two Robbers was released by Hugo on the catastrophe in The Old Summer Palace, during the times, the western world had been kept silent for a hundred years. Bona•Bulisai said that he had written a letter to President Chirac, proposed to return the existing relics from The Old Summer Palace in France. But Chirac had not any response on this. I hope to express my response to this by art creation. In 150 years of anniversary of The Old Summer Palace, I want to use photography to demonstrate a graphic, a spiritual icon to the public.
Invited to organize exhibition in The Old Summer Palace, named Spiritual Graphic, in the exhibition, I will show a series of works in Zodiac。 The combination of this unit of works and the exhibition hall has special significance. Obviously, the works I present are placed in the true and false staggered context. With the help of the information retrieval means of my laptop, the animals’ heads will be resituated in their original place in The Old Summer Palace. No doubt, this is "false"; but animals’ heads had really existed in the history, so it is also "true" In this way, the animals’ heads shuttle between the presence and absence. All in all, the only constant is the relic itself, which both exists in the work and constitutes part of the scene.
The display and placement of works serve dramatic narrative, both as Marguerite-style easel painting and a multi-scene film screen. When it is not plundered by force out of its context, it plays a role within the system. In this scene, the works and the exhibition themselves must be depicted. The viewers will see the coexisted and conflicting scenes at the same time, but it will not cancel or withdraw the illusion. I want to represent this contested battlefield through illusions and anti-illusions produced when the works were situated in the context. I tried to use something presented by image to collude the scar of memory with spiritual jump. By true and false graphics and alternation of history and reality, let the audiences reexamine the past history and the current reality.
I placed works on this historical site, look for a fudge-like return with the spiritual graphic. With the historical facts behind the scene as a support, it is difficult to digest off, even though it’s also weak. As Bulisai said: To remember history is an obligation, recording the spiritual graphic with photography is also one of my obligations.