The Short Commentary of Spirit icon
Producer:Zhang Zikang, Feng Xincheng
Curator: Hu Jiujiu
Academic Host: Wang Min’an, Wang Chunchen
Opening Reception: 2:30 p.m., July 6
Time: July 6-12, 2010
Place: No.3 Exhibition Hall of BeijingTodayArt Museum(TheOldSummerPalaceinBeijing)
Artistic Director: Zhang Runjun
Exhibition Coordinator: Liu Enqin
Media Cooperator: Zhang Lingling
Co-organizer: New Art Weekly Huaya Arts Found
It has been 150 years since theOldSummerPalacesuffered from its disaster in history. Nowadays,Chinais becoming increasingly strong and prosperous. Standing at this symbolic and meaningful historical moment, artist Fu Wenjun aims to make revelation of history and re-examine the situation of our national changes from the perspective of historical existence.
From the Song Zhuang Art Network
Fu Wenjun has grasped the tension between theOldSummerPalaceand contemporary art with his keen intuitions. He then reconstructs the materials he has collected. This reconstruction is not a simple juxtaposition of time and space, but a reproduction full of historical dialogues. In his exhibition, either the images or the real Old Summer Palace have been out of frame, breaking the instantaneous solidification of photography, penetrating into each other’s world, and making an ideographic space which lives much longer than the moment.
Hu Xudong, associate professor atBeijingUniversity
From 1860 when theOldSummerPalacewas destroyed by western intruders, to 2010 when those countries come to attend World Expo, one century and a half have passed. In this place where history is recorded, theOldSummerPalacecarries too much memory. Mr. Fu Wenjun’s works contain complex feelings and express confidence and confusion of Chinese people in this era.
Chen Gu, culture consulter of theOldSummerPalace
Mr. Fu Wenjun expresses his perception and interpretation of history. He raises his works to a high level with his foresight and keen judgments. His works are critical in connecting history and material, realism and modernity, historical perception and presentation. Meanwhile those works have achieved the integration between the audience and artists so that they can be appreciated by different people. The most important thing is that he has provided a classical case about interpreting and decoding history.
Jin Feng, artist
Curator Mr. Hu Jiujiu has displayed his imagination, critical thinking, as well his value orientation in this exhibition. He has personally promoted the extension of the border of art exhibitions and even promoted historical reflection and interaction in it. The value of universal concerns shown in Mr. Fu Wenjun’s art exhibition is worthy thinking of. Those critical interpretations also imply that there are collective amnesia and misunderstanding. They are the exploration of art’s boundary. It is worthwhile for us to wait and see whether Mr. Fu Wenjun will maintain this unique rhetoric of contemporary art and form a consistent artistic style and critical thinking.
Yuan Gong, artist and curator
TheOldSummerPalaceis an iconic site in Chinese modern history. It was born in a prosper Chinese Empire and collapsed in the fall of its weak period. The art works created by Mr. Fu Wenjun have come into being in this complex history background and have shown the beginning of a new world.
Fu Wenjun’s photographs emphasized the concept of history and nation by making contrast between ancient and modern times. It is reported that theOldSummerPalacewill collect these works which are worthy of $ 120,000 after the exhibition. In a sense, this is a way for those bronze animas’ heads to return back to theOldSummerPalacevia video works. Advisers Chen Gu concludes that “this is a very trendy thing for theOldSummerPalace.”
Director of the managing office at theOldSummerPalace, Dr. Chen Mingjie said: “TheOldSummerPalacehas come into contemporary art in a gradually way. There is also one thing matters that theOldSummerPalaceis willing to cooperate with Chinese contemporary culture and contemporary art.” Chen also thought that we need to interpret traditional cultures in new art forms. He said: “I think it is an endless exploration. I remember that Mr. Cai Yuanpei said that innovation is a most precious element. Similar ideas also appear in classic Chinese books. I think innovation is the continuous power and the soul of a nation. So I think the display of our cultural heritages needs new expressions so as to correspond to the needs of contemporary people.”