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Project Plan - Throwing Stones 扔石头
Dong SONG 宋冬
Song Dong
This proposal introduced the procedure of the work. Graphic illustrations along with notes are included to aid the explanation. (Jerry Wu'23).
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Project Plan - Round Table - Face to Face
Zhen CHEN 陈箴
CHEN Zhen
This project plan is constituted by numerous designing graphics of the work, of which are accompanied with English notes and explanation on the sides.The graphics are ordered according to the numbers assigned at the left-bottom corner of each page. (Jerry Wu'23).
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Correspondence to Zhou Yan - 23/02/1997
Da-Wei FEI 费大为
On February 23rd, 1997, the critic Fei Da-Wei faxed Zhou Yan a message saying that he already sent a message to their colleague Julia (as in Julia Brown) saying that he was very busy, but would try to readjust his schedule if needed. He also briefly mentions an essay titled "The Art of Being muddled", trans. by Zhou Yan. (Nicole Wang '26)
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Proposal: Opposite Space 方案：相对的空间
Pei-Li ZHANG 张培力
A proposal of the "Opposite Space" is written by the artist in Chinese, and sketches of this installation is provided along with the text. An English translation is made by Dr. ZHOU Yan. (Yifan Shang '25)
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Correspondence: CHEN Zhen to ZHOU Yan (about the logistics of "Round Table - Face to Face"
Zhen CHEN 陈箴
CHEN Zhen
This letter is (mainly) scripted in Chinese. (Jerry Wu'23).
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Correspondence to Zhou Yan - 23/06/1997
Da-Wei FEI 费大为
This correspondence is a faxed document sent to Zhou Yan by the Parisian art critic. In his letter, he tells Zhou details about the state of his new article in-progress and the guidelines given by their other colleague and editor, Julia Brown. (Nicole Wang '26).
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Essay: Buddha-Coitus（欢喜佛）
Bo NIU 牛波
Niu Bo
This essay by the artist Niu Bo is scripted in Chinese (traditional). (Jerry Wu'23).
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Correspondence: YU You-Han to ZHOU Yan
You-Han YU 余友涵
This document contains a letter from the artist to ZHOU Yan on slide caption of his works. The artist also asked about the exhibition that was co-curated by ZHOU Yan and aborted, see https://digital.kenyon.edu/zho. (Zhuocheng Jiang '26)
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Correspondence: LIU Da Hong to ZHOU Yan on the Submission of Artworks to the Guggenheim Exhibition
Da-Hong LIU 刘大鸿
LIU Dahong
This letter is scripted in Chinese. (Jerry Wu'23).
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News: Cai GuoQiang's Large-scale Installations Will Exhibit Next Month.
Guo-Qiang CAI 蔡国强
Unknown
This news clip is scripted in Chinese (Traditional). (Jerry Wu'23).
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Essay (Outline): From Hand-made Paper Work to Computer Art - Feng Mengbo's Art in China's and International Context (by ZHOU Yan)
Meng-bo FENG 冯梦波
ZHOU Yan
This essay outline is scripted in English. One additional note is appended by pen mark. (Jerry Wu'23).
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A Panel Proposal for AAS 1998 Annual Meeting (About Chinese Avant-garde Art)
Meng-bo FENG 冯梦波
Hsingyuan Tsao
This panel proposal is scripted in English and include the author's information. (Jerry Wu'23).
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Exhibition Document: My Window-You Jindong Album Exhibition of Own Works
Jin-Dong YOU 尤劲东
This exhibition invitation is for the artist's show "My Window-You Jindong Album Exhibition of Own Works." The front page features the artist's work, "Old Plays," juxtaposed with basic information about the show, including the title, location, and time. The back page of this document consists of a collage of identity cards the artist used at the Central Academy of Fine Art, Lu Hsun Art Institute, as well as official identity cards from Japan and China. The idea of this show is to demonstrate history through a small window built by the artist based on his personal experience and collective memories of their generation. (Zhuocheng Jiang '26)
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Correspondence: YOU Jin-Dong to ZHOU Yan in March and February 1999
Jin-Dong YOU 尤劲东
YOU Jin-Dong
The artist mentioned several topics in this series of e-mails sent in 1999. On February 27, he provided his basic information, including his native place, place of origin and adolescent experience, academic life at the Central Academy of Fine Art and his cultural revolution experience in Beidahuang, Heilongjiang Province. Then, following up with the other two emails on March 4, they are about some thoughts on his exhibition, "My Window-You Jindong album exhibition of own works." For information about the show, please refer to https://digital.kenyon.edu/zhoudocs/391/. The subjects of the works mentioned in these emails are mainly about the Cultural Revolution. He recalled a piece of private memory of the Cultural Revolution, which explains the inspiration and goal of this exhibition: redemption and introspection for what has happened in Chinese history. The last one was sent on March 12. It provided caption information of the works; in addition to his explanation of these works. (Zhuocheng Jiang '26)
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Correspondence: YOU Jindong to ZHOU YAN on "My Window-You Jindong Album Exhibition of Own Works"
Jin-Dong YOU 尤劲东
YOU Jin-Dong
The goal of this letter is to provide textual information for the critic, Zhou Yan to write an article on You's work. He mentioned thoughts for the exhibition, "My Window-You Jindong Album Exhibition of Own Works," as well as the new technology adopted, such as CGI and digitization of photos and paintings. The artist also mentioned some ingenuity manifested in the exhibition to build an immersive set-up, as well as some stories of creative process. As for the remuneration, it was politely refused, according to the critic. (Zhuocheng Jiang '26)
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Review: From overseas to investigate YOU Jin-Dong's Recent Works 尤劲东新作隔洋观
Jin-Dong YOU 尤劲东
Yan ZHOU
In this review written by Zhou Yan, the major concern is the artist's exhibition in 1998, "My Window-You Jindong album exhibition of own works." For further information, please refer to https://digital.kenyon.edu/zhoudocs/391/. This exhibition essentially reflects on the history of the Cultural Revolution. The artist, who has personally experienced the period of time, regrets the crimes he and other people have committed. With guilt, he dissected the time, individuals, and collective unconsciousness through a little "window," a representation that occurs in every one of his works, for the audience to pry into the tragedies and chaos out of ignorance. Then, Zhou Yan also discussed the new technology adopted in the works and the artist's transition from academic realism art to modern art. Then, at the end, he reflected on the poster of the exhibition to put his works in a pluralist and post-modernist context. In other words, the work goes beyond trauma and sins and involves the discussion of the identity of Chinese.(Zhuocheng Jiang '26)
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Bound: Unbound
Tian-miao LIN 林天苗
Tian-miao LIN 林天苗
In this essay written by Lin Tianmiao, she reveals the origins of her thread winding technique. She expresses feeling as though she was enduring some form of “torture” while helping her mother wind thread into balls as a child. Through the implementation of this technique into her work, she explores the experience of women in the realms of male and female, old and new. According to other documents related to this essay, it is likely that it was written in 1997. (Russ, Hannah '18)
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Lin Tianmiao Resume
Tian-miao LIN 林天苗
According to other documents related to this resume, it is likely that it was written in 1995. (Russ, Hannah '18)
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What I Feel in a Wooden Box and Moisture Cream
Tian-miao LIN 林天苗
Tian-miao LIN 林天苗, Wei Dong
In this essay written by Lin Tianmiao, translated by Dong Wei, Lin expresses her initial draw towards the wooden boxes presented in her work, "The Temptations of St. Theresa." She explains that these boxes evoked a reaction within her that lead her to subverting the hardness of the boxes by covering them with a soft substance, moisture cream. According to other documents related to this essay, it is likely that it was written in 1994/1995. (Russ, Hannah '18)
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Random Thoughts on "Thread-winding"
Tian-miao LIN 林天苗
Tian-miao LIN 林天苗, Wei Dong
This essay, written by Lin Tianmiao, details the physicality of winding thread into balls, which is essential in the creation of her work. She, as well as her friends, expressed different experiences with thread winding, all emerging as individuals as a result of this task. In addition, she explores the dualities in her work with regards to male and female, hard and soft, as well as others, which emphasize the contrast of opposites. According to other documents related to this essay, it is likely that it was written in 1995. (Russ, Hannah '18)
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Anecdote (轶事)
Huan ZHANG 張洹
This document contains an anecdote from the artist where he explains the time he climbed into a large metal box located inside his apartment and got hopelessly stuck. It was nighttime and he was all alone. He could only see from a tiny hole in the box just large enough for him to be able to stick out his arm. He reflected on how he at the time mainly communicated with friends by cellphone or BP machine. After many minutes of struggle and screaming for help, a neighbor came to open the box lid. After his frightening entrapment, he felt the true meaning of freedom after escaping the box. He felt that money and women are not needed, and only freedom instead. In the anecdote, he exclaims that he experienced the mindset of people between life and death and understood that life is worth cherishing. After being freed he immediately called his friends and told them about his experience and how people need help to live. He ends the anecdote by saying he never wanted to encounter the box again after that night. (Nicole Wang '26).
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The Changing Shape and Subject of Man---A Review of Zhan Wang's Sculpture 形的变异与人的主题——展望雕塑评析
Wang ZHAN 展望
YI Ying
Translated by YAO Jun and James Carl, this journal is an overall critique of stylistic changes of ZHAN’s sculptures from 1980s to 1990s, based on his sculptural piece “Sitting Girl” (坐着的女孩), “Kong Ling Kong” (空灵·空), “Seduction Series” (诱惑之旅), and “Sidewalk” (人行道). Written by Chinese art critic YI Ying, it was published on “Trend of Art" (美术潮流). (Fiona Ruqin Mu'21)
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Playing to Whoever In Distant Galaxies
Guo-Qiang CAI 蔡国强
Holland Cotter
A digital version (in The New York Times) of the document is available on [https://www.nytimes.com/1997/08/15/arts/playing-to-whoever-in-distant-galaxies.html].
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Project Report: AGEPASS
Qiang CHEN 陈强
Three reports are included in this compile: 1. Aqua (regarding the water samples) monument progress report. 2. (Yellow River) Origin monument progress report. And 3. Media works report. This document is scripted in Chinese. (Jerry Wu'23).
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Exhibition Plan - "Xinkedu" Group attending Spain (Barcelona)/China Modern Art Exhibition
Shao-Ping CHEN陈少平
This file is hand-written, and is scripted in Chinese. (Jerry Wu'23).
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